Podcasts about Farinelli

Felipe V, Luis I, Farinelli y otros personajes se dan cita en los Apuntes Históricos de hoy en los que Juancho Sánchez Ocaña también incluye una referencia de ficción: la serie española "La vida breve", que emite Movistar + y en la que también se dan cita estos personajes.

Der Wettbewerb ist eine Hommage an Farinelli – den berühmtesten Kastraten des 18. Jahrhunderts – und ein Zeichen dafür, wie lebendig die Countertenor-Stimme heute ist.

Daniel SeidmanComposer & Co-LyricistDr. Daniel Seidman is a licensed clinical psychologist practicing in New York City. Dan started playing in a band at the age of 12 at the Cafe Wha in Greenwich Village. At the age of 15, he toured the U.S. and Canada playing Hammond organ for Chubby Checker. He completed a year as a composition major at the Berklee College of Music in Boston in 1972-1973, and a B.A. in History from SUNY Binghamton. He received a Ph.D. from Columbia University in 1988, and subsequently joined the faculty at Columbia University Medical Center (CUMC) where he taught, practiced psychology, and did research for 30 years. He retired from Columbia in June of 2018. Fifth Avenue the musical originally grew out of Dan's combined interest in jazz and history. Discussions with a history professor Albert Fried about the immigrant experiences of the Irish, Jews, Italians and in more contemporary times, Blacks, Hispanics and the Chinese provided insight into the “dark side” of the American dream and its “underworld culture”. This is the story Fried tells in his book “The Rise and Fall of the Jewish Gangster in America” (Columbia University Press). After college, Dan began composing the music for "Fifth Avenue" while employed by the Shubert Organization in New York City. He met Susan Crawford, who wrote the book and co-wrote the lyrics for Fifth Avenue, in 1979. They were married in 1984 and are now the proud parents of two grown sons. Susan CrawfordBook Writer and Co-LyricistMy theater life began at 13 in my hometown's Shakespeare Festival. It evolved into much acting from then into my 30's. It soon overlapped with an interest in playwriting, and I finished my first play at 24. Eventually writing overcame acting for me. For that I studied with Arthur Kopit and John Guare; lyric writing at the ASCAP workshop, and with Sheila Davis, and Dorothy Fields. Around that time I co-developed the continuity for Ned Sherrin for “Only In America” songs by Leiber and Stoller. It ran at the Roundhouse in London, and was a distant antecedent to what became “Smoky Joe's Cafe.” “Dollars to Doughnuts, a Comedy for the 99%” was my master's thesis in the CCNY Graduate Writing Program where I studied with Arthur Kopit. It was a finalist in the O'Neill Playwriting Conference the year it was finished (under the title "Lotto"). For the summer 2022 season, it was selected by Theatre for the New City's “Dream Up” Festival where it was workshopped and is now being submitted for production. My one-act "Place Settings" was selected for the Chain Theatre's 2023 Winter One-Act Festival, and is also available for production.R.K. GreeneProducer and Executive Director of The StoryLine Project, LLC, a theatrical production company developing new shows. Shows include: * "Beau The Musical" by Lyons & Pakchar now an award-winning feature-length motion picture; * "Fifth Avenue" in development by Susan Crawford & Daniel Seidman* "Harmony" by Barry Manilow and Bruce Sussman on Broadway; * "Farinelli and the King" with Mark Rylance on Broadway;* "Terms of Endearment" with Molly Ringwald Off-Broadway and licensing thru Playscripts;* "A Time to Kill" with Patrick Page, Tonya Pinkins, Tom Skerritt, Fred Thompson and John Douglas Thompson on Broadway; * "Peter and the Starcatcher" winner of five Tony awards and now an Australian Tour in 2024-25; * "Cougar The Musical" Off-Broadway and licensing thru Concord Theatricals;* "Love Child" with Daniel Jenkins and Robert Stanton Off-Broadway and licensing thru Playscripts;* "Room Service" Off-Broadway. See https://www.storylineproject.com/Fifth AvenueWhat happens when your American Dream keeps getting caught up in other peoples' schemes?  Max and Willy borrow money to go legit and open a nightclub during prohibition offering ‘Fifth Avenue' class in NYC's Hell's Kitchen.  Meanwhile the younger generation chase their own versions of the ‘American Dream.'

R.K. GreeneProducer and Executive Director of The StoryLine Project, LLC, a theatrical production company developing new shows. Shows include: * "Beau The Musical" by Lyons & Pakchar now an award-winning feature-length motion picture; * "Fifth Avenue" in development by Susan Crawford & Daniel Seidman* "Harmony" by Barry Manilow and Bruce Sussman on Broadway; * "Farinelli and the King" with Mark Rylance on Broadway;* "Terms of Endearment" with Molly Ringwald Off-Broadway and licensing thru Playscripts;* "A Time to Kill" with Patrick Page, Tonya Pinkins, Tom Skerritt, Fred Thompson and John Douglas Thompson on Broadway; * "Peter and the Starcatcher" winner of five Tony awards and now an Australian Tour in 2024-25; * "Cougar The Musical" Off-Broadway and licensing thru Concord Theatricals;* "Love Child" with Daniel Jenkins and Robert Stanton Off-Broadway and licensing thru Playscripts;* "Room Service" Off-Broadway. Works with The Directors Company developing new work in the non-profit arena, https://www.directorscompany.org/Specialties: Theatrical product development and production on Broadway, Off-Broadway and on tour. Skills include dramaturgy, marketing, financial and market analyses, budgeting and projections, fundraising, contracts and business plan development.The Storyline ProjectA commercial theatrical production company based in New York City. Our focus is on stories that capture the imagination of an audience. Our mission is to identify and develop these stories and bring them to life on stage. Founded in January 1996 by four associates, SLP has analyzed hundreds of plays and musicals. Recommended plays have gone on to public readings at established theatre companies including Ensemble Studio Theatre, Theater Resources Unlimited and The Directors Company in New York City. SLP productions have appeared on Broadway, Off-Broadway and on tour across the U.S. and Canada

Les castrats, ces chanteurs opératiques du XVIIᵉ au XIXᵉ siècle, mutilés pour préserver leur voix angélique, ont marqué l'histoire de la musique. Le podcast met en lumière les destins contrastés de Caffarelli , chanteur au talent immense mais au comportement exécrable, et Farinelli , une véritable légende admirée pour son humilité et sa virtuosité. On découvre aussi Baldassare Ferri, dont la voix a suspendu une guerre, et la cantatrice Gabrieli, qui défia les puissants en prison. Cette époque baroque, entre gloire et souffrance, a vu ces artistes adulés comme des dieux, malgré une réalité cruelle. Grâce aux témoignages et analyses d'experts, le podcast plonge dans les scandales, rivalités et caprices de ces figures inoubliables. Leur héritage, bien que perdu faute d'enregistrements, est aujourd'hui ravivé par des contre-ténors modernes. Un récit captivant mêlant art, pouvoir et transgressions. Réalisation Axelle Thiry. Merci pour votre écoute Un Jour dans l'Histoire, c'est également en direct tous les jours de la semaine de 13h15 à 14h30 sur www.rtbf.be/lapremiere Retrouvez tous les épisodes d'Un Jour dans l'Histoire sur notre plateforme Auvio.be :https://auvio.rtbf.be/emission/5936 Intéressés par l'histoire ? Vous pourriez également aimer nos autres podcasts : L'Histoire Continue: https://audmns.com/kSbpELwL'heure H : https://audmns.com/YagLLiKEt sa version à écouter en famille : La Mini Heure H https://audmns.com/YagLLiKAinsi que nos séries historiques :Chili, le Pays de mes Histoires : https://audmns.com/XHbnevhD-Day : https://audmns.com/JWRdPYIJoséphine Baker : https://audmns.com/wCfhoEwLa folle histoire de l'aviation : https://audmns.com/xAWjyWCLes Jeux Olympiques, l'étonnant miroir de notre Histoire : https://audmns.com/ZEIihzZMarguerite, la Voix d'une Résistante : https://audmns.com/zFDehnENapoléon, le crépuscule de l'Aigle : https://audmns.com/DcdnIUnUn Jour dans le Sport : https://audmns.com/xXlkHMHSous le sable des Pyramides : https://audmns.com/rXfVppvN'oubliez pas de vous y abonner pour ne rien manquer.Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement.

Haz tus donaciones para los damnificados por “La Dana” POR BIZUM AL 📲 625 452 960 ---------- TRANSFERENCIA CAIXA BANK ES08 2100 6145 2502 0014 9345 Esta noche en El Centinela del Misterio, vamos a presentarles y a tratar de conocer un poquito mejor a través de QROMO IMPERIUM, y de la mano de maestros contadores y escritores de la historia como José Luis Hernández Garvi, Paco Álvarez “el Romano”, o Fernando Álvarez Prieto, el genio creador y alma mater del proyecto QROMO IMPERIUM, a esos grandes y transcendentales personajes de la historia, como por ejemplo Cristobal Colón, Juanelo Turriano, o incluso a un genio tan singular como Carlo Maria Michelangelo Nicola Brochssi, más conocido por el sobrenombre de “il castrato Farinelli…” Probablemente este sea uno de los programas más deliciosos de la historia de El Centinela del Misterio. ¿Quieren conocer en rigurosa primicia que es QROMO IMPERIUM? 👇🏻👇🏻👇🏻👇🏻👇🏻👇🏻👇🏻👇🏻👇🏻👇🏻👇🏻👇🏻 QROMO IMPERIUM – LA COLECCIÓN DEL IMPERIO ESPAÑOL Dirección y Presentación. Carlos Bustos Ayudante de Dirección. José Luis Hernández Garvi Realización. David Castillo Responsable de Producción. Helen Bustos MetRadioTV Apóyanos, hazte Mecenas y escucha gratis la nueva programación a partir del 15 de septiembre de 2024 en iVoox! El Centinela del Misterio, La Biblioteca de El Centinela, El 7º Centinela, Sola Ante el Peligro, El Centinela Romano, Más Allá de El Centinela y un nuevo espacio que no les dejará indiferentes; Radio Teatro de El Centinela… https://go.ivoox.com/sq/300018 ¿Quieres hacer crecer tu negocio? Anúnciate en El Centinela del Misterio. Infórmate mandando un WHATSAPP o un SMS al 📲 +34 636 601 031 Sigue nuestras actividades en https://instagram.com/carlosbustos_centinela?igshid=MzMyNGUyNmU2YQ%3D%3D&utm_source=qr ©️ ®️El Centinela del Misterio 22/11/2024 Este episodio puede contener contenido delicado no recomendado para menores de 14 años. Queda expresamente prohibida la reproducción total o parcial de este programa/podcast, por cualquier procedimiento, plataforma de difusión, medio de comunicación, así como el tratamiento informático, el alquiler o cualquier otra forma de cesión sin la autorización previa y por escrito de los titulares del copyright y propietarios de los derechos de El Centinela del Misterio. Los colaboradores, asistentes y personas que usan la palabra en el espacio El Centinela del Misterio, se hacen responsables unilateralmente de las opiniones vertidas en el mencionado espacio, y ceden los derechos de su actuación, emisión y redifusión, únicamente a El Centinela del Misterio y a la empresa propietaria de sus derechos. ©️ ®️El Centinela del Misterio 21/11/2024 Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

Escuchamos en ‘El Conservatorio' de Javier Gastón la historia de Farinelli considerado el más grande de los castrati de la historia que estuvo en la corte española en el siglo XVIII. Paseamos por el Museo del Prado a través del itinerario que Eduardo Barba ha elaborado con lienzos donde se fija en sus flores y plantas

Javier Gastón nos presenta a Farinelli, el Castrato más famoso del siglo XVIII, con el que nos adentramos, además, en la historia cortesana: la de los primeros Borbones que reinaron en España a comienzos de ese siglo.

DescriptionFarinelli: The Legendary Castrato and His Timeless Legacy in 60 Seconds. Take a minute to get the scoop!Fun FactA famous aria sung by Farinelli is "Alto Giove" from the opera *Polifemo* by Nicola Porpora. This aria, renowned for its beauty and serenity, allowed Farinelli to display his incredible vocal agility and emotional depth. His performance captivated audiences, leaving an enduring legacy in the Baroque opera world.__________________________________________________________________About Steven, HostSteven is a Canadian composer & actor living in Toronto. Through his music, he creates a range of works, with an emphasis on the short-form genre—his muse being to offer the listener both the darker and more satiric shades of human existence. If you're interested, please check out his music website for more. Member of the Canadian League Of Composers.__________________________________________________________________You can FOLLOW ME on Instagram.

DescriptionEchoes of Eternity: The Rise and Fall of the Castrato in 60 Seconds. Take a minute to get the scoop!Fun FactOne of the most famous castrato songs is Son qual nave ch'agitata, performed by Farinelli in the opera *Artaserse* by composer Leonardo Vinci. This aria, known for its demanding vocal range and emotional depth, showcased Farinelli's exceptional voice, making him a sensation across Europe.__________________________________________________________________About Steven, HostSteven is a Canadian composer & actor living in Toronto. Through his music, he creates a range of works, with an emphasis on the short-form genre—his muse being to offer the listener both the darker and more satiric shades of human existence. If you're interested, please check out his music website for more. Member of the Canadian League Of Composers.__________________________________________________________________You can FOLLOW ME on Instagram.

En 2008, nous avions eu le plaisir d'accueillir l'actrice Elsa Zilberstein dans nos studios. Connue pour ses rôles dans "Farinelli", "Mina Tanenbaum" et "Van Gogh", Elsa nous a ouvert son cœur sur son parcours et sa vision du cinéma.

In questa live con Bruno Farinelli abbiamo parlato di: batterie elettroniche, concerto de "Il Volo" su Canale 5, migliori rullanti, Stefano D'Orazio dei Pooh, Eloy Casagrande negli Slipknot, come gestire l'ansia sul palco, migliori pelli per batteria, trigger ed elettronica sul palco, schede audio economiche, novità di Logic X Pro per dividere le tracce mp3.► Tutto su di me: https://linktr.ee/suonarelabatteria

durée : 00:25:25 - Farinelli à Madrid - par : Anne-Charlotte Rémond - Au XVIIIème siècle, Madrid est une toute petite capitale, comparée à Paris ou à Naples. Il est vrai que le roi n'y est pas souvent. Le reste du temps, la cour le suit d'une résidence à l'autre, ce qui ne favorise pas le développement de la cité madrilène. Jusqu'à l'arrivé d'un certain Farinelli... - réalisé par : Philippe Petit

Giovanni Battista Rogeri has often been confused with other makers such as the Rugeri family, because of his name, and Giovanni Paolo Maggini, because of his working style. Trained in the famous workshop of Nicolo Amati in Cremona, Rogeri set out to make a name for himself in Brescia creating a Cremonese Brescian fusion. Learn all about this often mistaken maker in this first episode on the life of Giovanni Battista Rogeri.   This is the story of Giovanni Battista Rogeri the Cremonese trained violin maker who made it big in Brescia and has since been confused with other makers throughout history. Florian Leonhard talks about the influences Rogeri pulled on and exactly why his instruments have for so long been attributed to Giovanni Paolo Maggini.   Transcript    Far, far away in a place called Silene, in what is now modern day Libya, there was a town that was plagued by an evil venom spewing dragon, who skulked in the nearby lake, wreaking havoc on the local population. To prevent this dragon from inflicting its wrath upon the people of Silene, the leaders of the town offered the beast two sheep every day in an attempt to ward off its reptilian mood swings. But when this was not enough, they started feeding the scaly creature a sheep and a man. Finally, they would offer the children and the youths of the town to the insatiable beast, the unlucky victims being chosen by lottery.  As you can imagine, this was not a long term sustainable option. But then, one day, the dreaded lot fell to the king's daughter. The king was devastated and offered all his gold and silver, if only they would spare his beloved daughter.  The people refused, and so the next morning at dawn, the princess approached the dragon's lair by the lake, dressed as a bride to be sacrificed to the hungry animal.  It just so happened that a knight who went by the name of St George was passing by at that very moment and happened upon the lovely princess out for a morning stroll. Or so he thought. But when it was explained to him by the girl that she was in fact about to become someone else's breakfast and could he please move on and mind his own business he was outraged on her behalf and refused to leave her side.  Either she was slightly unhinged and shouldn't be swanning about lakes so early in the morning all by herself, or at least with only a sheep for protection, or she was in grave danger and definitely needed saving. No sooner had Saint George and the princess had this conversation than they were interrupted by a terrifying roar as the dragon burst forth from the water, heading straight towards the girl. Being the nimble little thing she was, the princess dodged the sharp claws.  As she was zigzagging away from danger, George stopped to make the sign of the cross and charged the gigantic lizard, thrusting Ascalon, that was the name of his sword, yep he named it, into the four legged menace and severely wounded the beast. George called to the princess to throw him her girdle, That's a belt type thing, and put it around the dragon's neck. From then on, wherever the young lady walked, the dragon followed like a meek beast.  Back to the city of Silene went George, the princess, and the dragon, where the animal proceeded to terrify the people. George offered to kill the dragon if they consented to becoming Christian. George is sounding a little bit pushy, I know. But the people readily agreed and 15, 000 men were baptized, including the king. St. George killed the dragon, slicing off its head with his trusty sword, Ascalon, and it was carried out of the city on four ox carts. The king built a church to the Blessed Virgin Mary and St. George on the site where the dragon was slain and a spring flowed from its altar with water that it is said would cure all diseases.  This is the story of Saint George and the Princess. It is a classic story of good versus evil, and of disease healing miracles that would have spoken to the inhabitants of 17th century Brescia. The scene depicting Saint George and the Princess is painted in stunning artwork by Antonio Cicognata and was mounted on the wall of the Church of San Giorgio.  Giovanni Battista Rogeri gazed up at this painting as family and friends, mainly of his bride Laura Testini, crowded into the church of San Giorgio for his wedding. Giovanni was 22 and his soon to be wife, 21, as they spoke their vows in the new city he called home. He hoped to make his career in this town making instruments for the art loving Brescians, evidence of which could be seen in the wonderful artworks in such places as this small church. Rogeri would live for the next 20 years in the parish of San Giorgio. The very same George astride an impressive white stallion in shining armour, his head surrounded by a golden halo. He is spearing the dragon whilst the princess calmly watches on clad in jewels with long red flowing robes in the latest fashion. In the background is the city of Brescia itself, reminding the viewer to remember that here in their city they too must fight evil and pray for healing from disease ever present in the lives of the 17th century Brescians. Hello and welcome to the Violin Chronicles, a podcast in which I, Linda Lespets, will attempt to bring to life the story surrounding famous, infamous, or just not very well known, but interesting violin makers of history.  I'm a violin maker and restorer. I graduated from the French Violin Making School some years ago now, and I currently live and work in Sydney with my husband Antoine, who is also a violin maker and graduate of the French school, l'Ecole Nationale de Luthierie in Mircourt. As well as being a luthier, I've always been intrigued with the history of instruments I work with, and in particular, the lives of those who made them. So often when we look back at history, I know that I have a tendency to look at just one aspect, but here my aim is to join up the puzzle pieces and have a look at an altogether fascinating picture. So join me as I wade through tales not only of fame, famine, and war, but also of love. Artistic genius. Revolutionary craftsmanship, determination, cunning and bravery, that all have their part to play in the history of the violin.  Welcome to this first episode on the life of Giovanni Battista Rogeri. After having spent the last few episodes looking at the life of the Ruggeri family, we will now dive into the life of that guy who almost has the same name, but whose work and contribution to violin making, you will see, is very different. And we will also look at just why, for so many years, his work has been attributed erroneously to another Brescian maker. The year was 1642, and over the Atlantic, New York was called New Amsterdam. The Dutch and the English were having scuffles over who got what. Was it New England? New Netherlands? In England, things were definitely heating up, and in 1642, a civil war was in the process of breaking out. On one side there were the parliamentarians, including Oliver Cromwell, and on the other side were the Royalists, who were the supporters of King Charles I. This war would rage on for the next 20 years, and not that anyone in England at this time really cared, but the same year that this war broke out, a baby called Giovanni Battista Rogeri was born in Bologna, perhaps, and for the next 20 years he grew up in this city ruled by the Popes of Italy. He too would witness firsthand wars that swept through his hometown. He would avoid dying of the dreaded plague, sidestep any suspicion by the Catholic church in this enthusiastic time of counter reformation by being decidedly non Protestant. And from an early age, he would have been bathed in the works of the Renaissance and now entering churches being constructed in the Baroque style. Bologna was a city flourishing in the arts, music and culture, with one of the oldest universities in the country.  But for the young Giovanni Battista Rogeri, to learn the trade of lutai, or violin maker, the place he needed to be was, in fact, 155. 9 km northwest of where he was right now. And if he took the A1, well, today it's called the A1, and it's an ancient Roman road so I'm assuming it's the same one, he could walk it in a few days. Destination Cremona, and more precisely, the workshop of Niccolo Amati. An instrument maker of such renown, it is said that his grandfather, Andrea Amati, made some of the first violins and had royal orders from the French king himself.  To be the apprentice of such a man was a grand thing indeed. So we are in the mid 1600s  and people are embracing the Baroque aesthetic along with supercharged architecture and paintings full of movement, colour and expression. There is fashion, and how the wealthy clients who would buy instruments in Cremona dressed was also influenced by this movement. Emily Brayshaw. You've got these ideas of exaggeration of forms and you can exaggerate the human body with, you know, things like high heels and wigs and ribbons and laces. And you've got a little bit of gender bending happening, men wearing makeup and styles in the courts. You know, you've got dress and accessories challenging the concept of what's natural, how art can compete with that and even triumph over the natural perhaps. You've got gloves trimmed with lace as well. Again, we've got a lot of lace coming through so cravats beauty spot as well coming through. You've got the powder face, the, the wig. Yeah. The makeup, the high heels. Okay. That's now. I actually found a lovely source, an Italian tailor from Bergamo during the Baroque era. The Italians like really had incredibly little tailors and tailoring techniques. And during this sort of Baroque era. He grumbles that since the French came to Italy not to cut but to ruin cloth in order to make fashionable clothes, it's neither possible to do our work well nor are our good rules respected anymore. We have completely lost the right to practice our craft. Nowadays though who disgracefully ruin our art and practice it worse than us are considered the most valuable and fashionable tailors.  So we've got like this real sort of shift. You know, from Italian tailoring to sort of French and English tailoring as well. And they're not happy about it. No, they are not happy about it. And this idea that I was talking about before, we've got a lovely quote from an Italian fashion commentator sort of around the mid 17th century. His name's Lam Pugnani, and he mentions the two main fashions. meaning French and Spanish, the two powers that were ruling the Italian peninsula and gradually building their global colonial empires. And he says, “the two main fashions that we have just recorded when we mentioned Spanish and French fashion, enable me to notice strangeness, if not a madness residing in Italian brains, that without any reason to fall in love so greatly Or better, naturalize themselves with one of these two nations and forget that they are Italian. I often hear of ladies who come from France, where the beauty spot is in use not only for women, but also for men, especially young ones, so much so that their faces often appear with a strange fiction darkened and disturbed, not by beauty spots, but rather by big and ridiculous ones, or so it seems somebody who is not used to watching similar mode art”. So, you know, we've got people commentating and grumbling about these influences of Spain and France on Italian fashion and what it means to be Italian. When we sort of think about working people, like there's this trope in movie costuming of like peasant brown,  you know, and sort of ordinary, you know, people, perhaps ordinary workers, you know, they weren't necessarily dressed.  In brown, there are so many different shades of blue. You know, you get these really lovely palettes of like blues, and shades of blue, and yellows, and burgundies, and reds, as well as of course browns, and creams, and these sorts of palettes. So yeah, they're quite lovely. And I'm imagining even if you didn't have a lot of money, there's, I know there's a lot of flowers and roots and barks that you can, you can dye yourself. Yeah, definitely. And people did, people did. I can imagine if I was living back there and we, you know, we're like, Oh, I just, I want this blue skirt. And you'd go out and you'd get the blue skirt. The flowers you needed and yeah, definitely. And people would, or, you know, you can sort of, you know, like beetroot dyes and things like that. I mean, and it would fade, but then you can just like, you know, quickly dye it again. Yeah, or you do all sorts of things, you know, and really sort of inject colour and, people were also, you know, people were clean. To, you know, people did the best they could  keep themselves clean, keep their homes clean. You know, we were talking about boiling linens to keep things fresh and get rid of things like fleas and lice. And people also used fur a lot in fashion. And you'd often like, you know, of course you'd get the wealthy people using the high end furs, but sometimes people would, you know, use cat fur in Holland, for example, people would trim their fur. Their garments and lined their garments with cat fur.  Why not? Because, you know, that's sort of what they could afford.  It was there. Yeah, people also would wear numerous layers of clothing as well because the heating wasn't always so great. Yeah. You know, at certain times of the year as well. So the more layers you had, the better. The more, the more warm and snug you could be. As do we in Sydney. Indeed.  Indeed.  Canadians complain of the biting cold here. I know. And it's like, dude, you've got to lay about us. It's a humid cold. It's awful. It's horrible. It just goes through everything. Anyway. It's awful. Yeah. So at the age of 19, Giovanni Battista Rogeri finds himself living in the lively and somewhat crowded household of Niccolo Amati. The master is in his early 60s and Giovanni Battista Rogeri also finds himself in the workshop alongside Niccolo Amati's son Girolamo II Amati, who is about 13 or 14 at this time.  Cremona is a busy place, a city bursting with artisans and merchants. The Amati Workshop is definitely the place to be to learn the craft, but it soon becomes clear as Giovanni Battista Rogeri looks around himself in the streets that, thanks to Nicolo Amati, Cremona does indeed have many violin makers, and although he has had a good few years in the Amati Workshop, Learning and taking the young Girolamo II Amati the second under his wing more and more as his father is occupied with other matters. He feels that his best chances of making a go of it would be better if he moved on and left Cremona and her violin makers. There was Girolamo II Amati who would take over his father's business. There were the Guarneri's around the corner. There was that very ambitious Antonio Stradivari who was definitely going to make a name for himself. And then there were the Rugeri family, Francesco Rugeri and Vincenzo Rugeri whose name was so familiar to his, people were often asking if they were related.  No, it was time to move on, and he knew the place he was headed. Emily Brayshaw.  So, you've also got, like, a lot of artisans moving to Brescia as well, following the Venetian ban on foreign Fustian sold in the territory. So Fustian is, like, a blend of various things. Stiff cotton that's used in padding. So if you sort of think of, for example someone like Henry VIII, right? I can't guarantee that his shoulder pads back in the Renaissance were from Venetian Fustian, but they are sort of topped up and lined with this really stiff Fustian to give like these really big sort of, Broad shoulders. That's how stiff this is. So, Venice is banning foreign fustians, which means that Cremona can't be sold in these retail outlets. So, Ah, so, and was that sort of That's fabric, but did that mirror the economy that Brescia was doing better than Cremona at this point? Do you, do you think? Because of that? Well, people go where the work is. Yeah. Cause it's interesting because you've got Francesco Ruggeri, this family that lives in Cremona. Yeah. And then you have about 12 to 20 years later, you have another maker, Giovanni Battista Rogeri.  Yeah. He is apprenticed to Niccolo Amati. So he learns in Cremona. And then he's in this city full of violin makers, maybe, and there's this economic downturn, and so it was probably a very wise decision. He's like, look, I'm going to Brescia, and he goes to Brescia. He would have definitely been part of this movement of skilled workers and artisans to Brescia at that time, sort of what happening as well. So, you know, there's all sorts of heavy tolls on movements of goods and things like that. And essentially it collapses. And they were, and they were heavily taxed as well. Yeah, definitely. Definitely. It was the fabulous city of Brescia. He had heard stories of the city's wealth, art, music and culture, famous for its musicians and instrument makers. But the plague of 1630 had wiped out almost all the Luthiers and if ever there was a good time and place to set up his workshop, it was then and there. So bidding farewell to the young Girolamo Amati, the older Nicolò  Amati and his household, where he had been living for the past few years. The young artisan set out to make a mark in Brescia, a city waiting for a new maker, and this time with the Cremonese touch. Almost halfway between the old cathedral and the castle of Brescia, you will find the small yet lovely Romanesque church of San Giorgio. Amidst paintings and frescoes of Christ, the Virgin and the Saints, there stands a solemn yet nervous young couple, both in their early twenties. Beneath the domed ceiling of the church, the seven angels of the Apocalypse gaze down upon them, a constant reminder that life is fragile, and that plague, famine and war are ever present reminders of their mortality. But today is a happy one. The young Giovanni Battista Rogeri is marrying Laura Testini.  And so it was that Giovanni Battista Rogeri moved to Brescia into the artisanal district and finds himself with a young wife, Laura Testini. She is the daughter of a successful leather worker and the couple most probably lived with Laura's family. Her father owned a house with eight rooms and two workshops. This would have been the perfect setup for the young Giovanni to start his own workshop and get down to business making instruments for the people of Brescia. He could show off his skills acquired in Cremona, and that is just what he did. Since the death of Maggini, there had not been any major instrument making workshops in Brescia. Florian Leonhard  Here I talk to Florian Leonhard about Giovanni Battista Rogeri's move to Brescia and his style that would soon be influenced by not only his Cremonese training, but the Brescian makers such as Giovanni Paolo Maggini I mean, I would say in 1732. The Brescian violin making or violin making was dead for a bit,  so until the arrival of Giovanni Battista Rogeri, who came with a completely harmonised idea,  into town and then adopted  features of  Giovanni Paolo Maggini and Gasparo da Salo. I cannot say who, probably some Giovanni Paolo Maggini violins that would have been more in numbers available to him, have influenced his design of creating an arching. It's interesting that he instantly picked up on that arching  because Giovanni Battista Rogeri always much fuller arched. The arching rises much earlier from the purfling up. Right. So he came from the Cremonese tradition, but he adopted the, like, the Brescian arching idea. He, he came from Niccolo Amati and has learned all the finesse of construction, fine making, discipline, and also series production. He had an inside mould, and he had the linings, and he had the, all the blocks, including top and bottom block.  And he nailed in the neck, so he did a complete package of Cremonese violin making and brought that into Brescia, but blended it in certain stylistics and sometimes even in copies with the Brescian style. For a long time, we have had Before dendrochronology was established, the Giovanni Paolo Magginis were going around and they were actually Giovanni Battista Rogeris. Brescia at this time was still a centre flourishing in the arts and despite the devastation of the plague almost 30 years ago, it was an important city in Lombardy and was in the process of undergoing much urban development and expansion.  When Giovanni Rogeri arrived in the city, There were efforts to improve infrastructure, including the construction of public buildings, fortifications and roads. The rich religious life of the city was evident, and continued to be a centre of religious devotion at this time, with the construction and renovation of churches in the new Baroque style.  The elaborate and ornate designs were not only reserved for churches, but any new important building projects underway in the city at this time. If you had yourself the palace in the Mula, you were definitely renovating in the Baroque style. And part of this style would also be to have a collection of lovely instruments to lend to musicians who would come and play in your fancy new pad. Strolling down the colourful streets lined with buildings covered in painted motifs, people were also making a statement in their choice of clothing. Another thing that the very wealthy women were wearing are these shoes called Chopines, which are like two foot tall. And so you've got like this really exaggerated proportions as well. Very tall. I mean. Very tall, very wide. So taking up a lot of space. I'm trying to think of the door, the doorways that would have to accommodate you. Yes. How do you fit through the door? So a lot of the time women would have to stoop. You would need to be escorted by either servants.  And then you'd just stand around. I did find some discussions of fashion in the time as well.  Commentators saying, well, you know, what do we do in northern France? We either, in northern Italy, sorry, we either dress like the French, we dress like the Spanish, why aren't we dressing like Italians? And kind of these ideas of linking national identity through the expression of dress in fashion. So, we're having this But did you want to, was it fashionable to be to look like the French court or the, to look like the Spanish court. Well, yeah, it was, it was fashionable. And this is part of what people are commenting about as well. It's like, why are we bowing to France? Why are we bowing to Italy? Sorry. Why are we bowing to Spain? Why don't we have our own national Italian identity? And we do see like little variations in dress regionally as well. You know, people don't always. Dress exactly how the aristocracy are dressing. You'll have your own little twists, you'll have your own little trimmings, you'll have your own little ways and styles. And there are theories in dress about trickle down, you know, like people are trying to emulate the aristocracy, but they're not always. Trying to do that. Well, yeah, it's not practical if you're living, you know, if you're and you financially you can't either like some of these Outfits that we're talking about, you know with one of these hugh like the Garde in Fanta worn by Marie Theresa that outfit alone would have cost in today's money like more than a million dollars  You can't copy these styles of dress, right? So what you've got to do is, you know, make adjustments. And also like a lot of women, like you, these huge fashion spectacles worn at court. They're not practical for working women either. So we see adaptations of them. So women might have a pared down silhouette and wear like a bum roll underneath their skirts and petticoats and over the top of the stays. And that sort of gives you a little nod to these wider silhouettes, but you can still move, you can still get your work done, you can still, you know, do things like that. So that's sort of what's happening there. Okay, so now we find a young Giovanni Battista Rogeri. He has married a local girl and set up his workshop. Business will be good for this maker, and no doubt thanks to the latest musical craze to sweep the country. I'm talking about opera.  In the last episodes on Francesco Ruggeri, I spoke to Stephen Mould, the composer. at the Sydney Conservatorium about the beginnings of opera and the furore in which it swept across Europe. And if you will remember back to the episodes on Gasparo Da Salo at the beginning of the Violin Chronicles, we spoke about how Brescia was part of the Venetian state.  This is still the case now with Giovanni Battista Rogeri and this means that the close relationship with Venice is a good thing for his business.  Venice equals opera and opera means orchestras and where orchestras are you have musicians and musicians have to have an instrument really, don't they? Here is Stephen Mould explaining the thing that is opera and why it was so important to the music industry at the time and instrument makers such as our very own Giovanni Battista Rogeri. Venice as a place was a kind of Gesamtkunstwerk.  Everything was there, and it was a very, it was a very modern type of city, a trading city, and it had a huge emerging, or more than emerging, middle class. People from the middle class like entertainment of all sorts, and in Venice they were particularly interested in rather salacious entertainments, which opera absolutely became. So the great thing of this period was the rise of the castrato.  Which they, which, I mean, it was, the idea of it is perverse and it was, and they loved it. And it was to see this, this person that was neither man nor, you know, was in a way sexless on the stage singing  and, and often singing far more far more virtuosically than a lot of women, that there was this, there was this strange figure. And that was endlessly fascinating. They were the pop stars of their time. And so people would go to the opera just to hear Farinelli or whoever it was to sing really the way. So this is the rise of public opera. As opposed to the other version. Well, Orfeo, for example, took place in the court at Mantua, probably in the, in the room of a, of a palace or a castle, which wouldn't have been that big, but would have been sort of specially set up for those performances. If I can give you an idea of how. Opera might have risen as it were, or been birthed in Venice. Let's say you've got a feast day, you know, a celebratory weekend or few days. You're in the piazza outside San Marco. It's full of people and they're buying things, they're selling things, they're drinking, they're eating, they're having a good time. And all of a sudden this troupe of strolling players comes into the piazza and they start to put on a show, which is probably a kind of comedia dell'arte spoken drama. But the thing is that often those types of traveling players can also sing a bit and somebody can usually play a lute or some instrument. So they start improvising. Probably folk songs. Yeah. And including that you, so you've kind of already there got a little play happening outside with music. It's sort of like a group of buskers in Martin place. It could be very hot. I mean, I've got a picture somewhere of this. They put a kind of canvas awning with four people at either corner, holding up the canvas awning so that there was some sort of shade for the players. Yeah. That's not what you get in a kid's playground these days. You've almost got the sense. Of the space of a stage, if you then knock on the door of one of the palazzi in, in Venice and say to, to the, the local brew of the, of the aristocracy, look, I don't suppose we could borrow one of your rooms, you know, in your, in your lovely palazzo to, to put on a, a, a show.  Yeah, sure. And maybe charged, maybe didn't, you know, and, and so they, the, the very first, it was the San Cassiano, I think it was the theatre, the theatre, this, this room in a, in a palace became a theatre. People went in an impresario would often commission somebody to write the libretto, might write it himself. Commissioner, composer, and they put up some kind of a stage, public came in paid, so it's paying to come and see opera.  Look, it's, it's not so different to what had been going on in England in the Globe Theatre. And also the, the similar thing to Shakespeare's time, it was this sort of mixing up of the classes, so everything was kind of mixed together.  And that's, that's why you get different musical genres mixed together. For example, an early something like Papaya by Monteverdi, we've just done it, and from what, from what I can gather from the vocal lines, some of the comic roles were probably these street players,  who just had a limited vocal range, but  could do character roles very well, play old women, play old men, play whatever, you know, caricature type roles. Other people were Probably trained singers. Some of them were probably out of Monteverdi's chorus in San Marco, and on the, on when they weren't singing in church, they were over playing in the opera, living this kind of double life.  And That's how  opera  started to take off. Yeah, so like you were saying, there are different levels. So you had these classical Greek themes, which would be more like, you're an educated person going, yes, yes, I'm seeing this classical Greek play, but then you're someone who'd never heard of Greek music. The classics. They were there for the, you know, the lively entertainment and the sweet performers. Yes. So the, the, the Commedia dell'arte had, had all these traditional folk tales. Then you've got all of the, all of the ancient myths and, and, and so forth.  Papaya was particularly notable because it was the first opera that was a historical opera. So it wasn't based on any ancient myths or anything. It was based on the life of Nero and Papaya. And so they were real life a few hundred years before, but they were real. It was a real historical situation that was being enacted on the stage.  And it was a craze. That's the thing to remember is. You know, these days people have to get dressed up and they have to figure out how they get inside the opera house and they're not sure whether to clap or not and all of this sort of stuff and there's all these conventions surrounding it. That wasn't what it was about. It was the fact that the public were absolutely thirsty for this kind of entertainment.  Yeah. And I was seeing the first, so the first opera house was made in in about 1637, I think it was. And then by the end of Monteverdi's lifetime, they said there were 19 opera houses in Venice. It was, like you were saying, a craze that just really took off. They had a few extra ones because they kept burning down. That's why one of them, the one that, that is, still exists today is called La Fenice. It keeps burning down as well, but rising from the ashes. Oh, wow. Like the, yeah, with the lighting and stuff, I imagine it's So, yeah, because they had candles and they had, you know, Yeah, it must have been a huge fire hazard. Huge fire hazard, and all the set pieces were made out of wood or fabric and all of that. Opera houses burning down is another big theme.  Oh yeah, it's a whole thing in itself, yeah. So then you've got These opera troupes, which are maybe a little, something a little bit above these commedia dell'arte strolling players. So, you've got Italy at that time. Venice was something else. Venice wasn't really like the rest of Italy. You've got this country which is largely agrarian, and you've got this country where people are wanting to travel in order to have experiences or to trade to, to make money and so forth. And so, first of all if an opera was successful, it might be taken down to Rome or to Naples for people to hear it. You would get these operas happening, happening in different versions. And then of course, there was this idea that you could travel further through Europe. And I, I think I have on occasion, laughingly. a couple of years ago said that it was like the, the latest pandemic, you know, it was, but it was this craze that caught on and everybody wanted to experience. Yeah. So you didn't, you didn't have to live in Venice to see the opera. They, they moved around. It was, it was touring. Probably more than we think. That, that, that whole period, like a lot of these operas were basically unknown for about 400 years. It's only, the last century or so that people have been gradually trying to unearth under which circumstances the pieces were performed.  And we're still learning a lot, but the sense is that there was this sort of network of performers and performance that occurred.  And one of the things that Monteverdi did, which was, which was different as well, is that before you would have maybe one or two musicians accompanying, and he came and he went, I'm taking them all. And he created sort of, sort of the first kind of orchestras, like  lots of different instruments. They were the prototypes of, of orchestras. And Look, the bad news for your, the violin side of your project, there was certainly violins in it. It was basically a string contingent. That was the main part of the orchestra. There may have been a couple of trumpets, may have been a couple of oboe like instruments. I would have thought that for Venice, they would have had much more exotic instruments.  But the, the, the fact is at this time with the public opera, what became very popular were all of the stage elements. And so you have operas that have got storms or floods or fires. They simulated fires. A huge amount of effort went into painting these very elaborate sets and using, I mean, earlier Leonardo da Vinci had been experimenting with a lot of how you create the effect of a storm or an earthquake or a fire or a flood. There was a whole group of experts who did this kind of stuff. For the people at the time, it probably looked like, you know, going to the, the, the first big movie, you know, when movies first came out in the 20s, when the talkies came out and seeing all of these effects and creating the effects. When we look at those films today, we often think, well, that's been updated, you know, it's out of date, but they found them very, very, very compelling. What I'm saying is the money tended to go on the look of the thing on the stage and the orchestra, the sound of the orchestras from what we can gather was a little more monochrome. Of course, the other element of the orchestra is the continuo section. So you've got the so called orchestra, which plays during the aria like parts of the opera, the set musical numbers. And you've got the continuo, which is largely for the rest of the team. And you would have had a theorbo, you would have had maybe a cello, a couple of keyboard instruments, lute. It basically, it was a very flexible, what's available kind of. Yeah, so there was they would use violines, which was the ancestor of the double bass. So a three stringed  one and violins as well. And that, and what else I find interesting is with the music, they would just, they would give them for these bass instruments, just the chords and they would improvise sort of on those. Chords. So every time it was a little bit different, they were following a Yes. Improvisation. Yeah. So it was kind of original. You could go back again and again. It wasn't exactly the same. And look, that is the problem with historical recreation. And that is that if you go on IMSLP, you can actually download the earliest manuscript that we have of Papaya.  And what you've got is less than chords, you've got a baseline. Just a simple bass line,  a little bit of figuration to indicate some of the chords, and you've got a vocal line. That's all we have. We don't actually know, we can surmise a whole lot of things, but we don't actually know anything else about how it was performed. I imagine all the bass instruments were given that bass line, and like, Do what you want with that. So yeah, it would, and it would have really varied depending on musicians. Probably different players every night, depending on, you know,  look, if you go into 19th century orchestras, highly unreliable, huge incidents of drunkenness and, you know, different people coming and going because they had other gigs to do. Like this is 19th century Italian theatres at a point where, you know, It should have been, in any other country, it would have, Germany had much better organized you know, orchestral resources and the whole thing. So it had that kind of Italian spontaneity and improvised, the whole idea of opera was this thing that came out of improvisation. Singers also, especially the ones that did comic roles, would probably improvise texts, make them a bit saucier than the original if they wanted for a particular performance. All these things were, were open.  And this brings us to an end of this first episode on Giovanni Battista Rogeri.  We have seen the young life of this maker setting out to make his fortune in a neighbouring city, alive with culture and its close connections to Venice and the world of opera. I would like to thank my lovely guests Emily Brayshaw, Stephen Mould and Florian Leonhardt for joining me today.   ​ 

Del latín "per sonare”, llega persona o sea máscara. Usada en el teatro grecoromano para hacerse oír, construir un personaje, expresar una emoción pero que acabó identificándose con la persona. “Discreta" como la del castrato Farinelli, mortuoria como la de Tutankhamon, buenista de pro, malota feminazi o castigador D. Juan. Desfilando en Rio,Tenerife, Cadiz, Nueva Orleans o pavoneándose en el hemiciclo."Esfinge, enigma, serpiente o leyenda perseguida” como cierra el poema "La Máscara” que escribí un dia. De los Platters ("The Great Pretender”) al pachuco Jim Carrey desfilando en la babélica comparsa. Todo el año es carnaval. Puedes hacerte socio del Club Babel y apoyar este podcast: mundobabel.com/club Si te gusta Mundo Babel puedes colaborar a que llegue a más oyentes compartiendo en tus redes sociales y dejar una valoración de 5 estrellas en Apple Podcast o un comentario en Ivoox. Para anunciarte en este podcast, ponte en contacto con: mundobabelpodcast@gmail.com.

Del latín "per sonare”, llega persona o sea máscara. Usada en el teatro grecoromano para hacerse oír, construir un personaje, expresar una emoción pero que acabó identificándose con la persona. “Discreta" como la del barroco castrato Farinelli, mortuoria como la de Tutankhamon, buenista de pro o malota feminazi, prepotente politico o arquetípico D. Juan. Desfilando en Rio,Tenerife, Cadiz , Nueva Orleans o pavoneándose en el hemiciclo."Esfinge, enigma, serpiente o leyenda perseguida” como cierra el poema "La Máscara” que escribí un dia. De los Platters ("The Great Pretender”) al pachuco Jim Carrey desfilando en la babélica comparsa. Todo el año es carnaval. Puedes hacerte socio del Club Babel y apoyar este podcast: mundobabel.com/club Si te gusta Mundo Babel puedes colaborar a que llegue a más oyentes compartiendo en tus redes sociales y dejar una valoración de 5 estrellas en Apple Podcast o un comentario en Ivoox. Para anunciarte en este podcast, ponte en contacto con: mundobabelpodcast@gmail.com.

En la época de esplendor de los castrati en la escena operística, emerge un mito cuya fama llega hasta nuestros días: Carlo Broschi, llamado Farinelli.Este documental, con la firma por Ana Vega Toscano, aborda una faceta más próxima como fue su destacado paso por España, donde estuvo más de veinte años al servicio de la monarquía. Aquí desarrolló una destacada labor en política cultural y alcanzó notable poder hasta el punto de ser nombrado caballero de la Orden de Calatrava.Carlo Broschi se formó en la escuela napolitana en relación con el famoso compositor y profesor de canto Nicola Porpora. Pronto Nápoles, Roma, Milán, Parma o Venecia, dieron cuenta de su fulgurante éxito. En 1735 viaja a Londres como la mayor estrella del momento y dos años después Farinelli llega a España, donde entra al servicio personal de Felipe V iniciándose así el mito de un Orfeo capaz de curar los desequilibrios psicológicos del rey.Con Fernando VI fue responsable de las producciones operísticas del Teatro del Buen Retiro y del Real Sitio de Aranjuez, con las que logró proyectar una imagen poderosa de la monarquía española. Farinelli se convirtió en una figura influyente dentro del círculo del Marqués de la Ensenada.El documental cuenta con la aportación de musicólogos especializados como Begoña Lolo, catedrática del Departamento de Música de la UAM y miembro de la Real Academia de Bellas Artes de San Fernando; Juan Pablo Fernández-Cortés, profesor del Departamento de Música de la UAM, y autor de la serie de Radio Clásica Farinelli en España: la leyenda del artista; y de Daniel Martín Sáez, profesor de la Universidad de Salamanca y autor del trabajo La apoteosis del Farinelli en España: el mito de la superestrella a través de la prensa británica del siglo XVIII. Igualmente cuenta con declaraciones del contratenor Philippe Jaroussky, intérprete del repertorio de Farinelli, pertenecientes al Archivo de RTVE.Escuchar audio

Os Saltimbancos, em cartaz há 25 anos em Belo Horizonte, dirigidos por Farinelli, apresentam a história de quatro animais em busca de uma carreira musical na cidade. Adaptada por Chico Buarque, a peça recebeu diversos prêmios na versão mineira, estrelada por Fernando Bustamante e produzida pela Cyntilante Produções. A obra, criada em 1977, é considerada um fenômeno que atravessa gerações, destacando-se pela trilha sonora adaptada por Leri Faria e coreografias de sapateado por Eurico Justino. As apresentações ocorrem no Centro Cultural Unimed-BH Minas nos dias 20 e 21, com ingressos disponíveis na bilheteria e online por 25 reais, ou a preço único nos postos sinparc nos shoppings Cidade e Pátio Savassi.

durée : 00:25:12 - Händel : Ariodante - par : Anne-Charlotte Rémond - La saison 1734-1735 à Londres est celle des menaces pour Händel qui doit déménager sa troupe à Covent Garden et faire face à la concurrence nouvelle de Farinelli et de la troupe "L'Opéra de la Noblesse". Afin de rester en pleine lumière, il déploie tout son art dans un nouvel opéra : Ariodante. - réalisé par : Philippe Petit

Incontro con Franco Farinelli e Michael Jakob. Presenta Marcello Tanca La troviamo nei giardini del XVI secolo, quanto la finta montagna simboleggia il Parnaso, e poi nelle celebrazioni barocche, e ancora negli anni delle Rivoluzione indica l'Essere Supremo; poi nel corso dell'Ottocento come finto vulcano, piramide iniziatica, e più vicino a noi ancora nelle esposizioni universali e, non da ultimo, un po' ovunque sul pianeta nelle innumerevoli montagne di rifiuti che lo ricoprono. Costruzione altamente simbolica, la finta montagna si attesta come un luogo inaggirabile nell'arte contemporanea. A cura di Associazione dei Geografi Italiani, Società Geografica Italiana e Associazione Italiana Insegnanti di Geografia Edizione 2023 https://pordenonelegge.it/

Jorge Parra es diseñador, ilustrador, director creativo y fundador de 'House of Bows'. Defiende que se puede ir en pijama a los sitios y que hay que intentar mantener la esencia de los lugares. Le encanta la historia, Pasolini y Anjelica Huston. Hablamos en el Hotel sobre casas de películas en las que viviríamos, de lugares con costra, de Farinelli, de olores, de la importancia de la pátina, de sillas que se mueven solas, de adelfas, de vals invisibles y de llorar. RESTAURANTES Y COPAS- La Parra- Casa José- Casa Pablo- Arume- Vesta- Batea- Lhardy- Casa Botín- Sala de Despiece- José Alfredo- Cock- ChinchínPELÍCULAS- Lost in Translation- Solo en Casa- Matilda- Barry Lyndon- Belle Époque- Call me by your Name- Salo- Prácticamente magia- Ocho y medio- La niña de tus ojos- Entrevista con el vampiro- Leyendas de Pasión

Want to become more heart-centered? We invite you to join us on Deb's Dailies (daily blog and newsletter), a daily reflection on living and loving life as a heart-centered leader.John Farinelli is a board-certified health coach who helps men take control of their lives so that they can connect deeply in their relationships and have a positive impact in the world.Since our relationships with food are extremely personal, John works with his clients to access their true authenticity and unique empowerment by exploring the role food plays in their life and reconnecting with their intuitive guidance.John was called to this work through navigating his own chronic mental and physical health issues which started as a child.His curiosity has led him to explore well-being through a psychological, biological, spiritual, and relational perspective.Connect with John at:* www.johnfarinelli.com* www.instagram.com/john.farinelli/* www.linkedin.com/in/john-farinelli/* www.facebook.com/JohnFarinelliCoaching This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit debcrowe.substack.com

Parliamo di pizza e fotografia, con la fotografa Alessandra Farinelli. Specializzata in food photography, con una particolare predilezione per la pizza, Alessandra ci racconta come si inizia un percorso in questo settore che oggi vede parecchia competizione (soprattutto amatoriale), come ci si ritaglia una nicchia, come si può comunicare efficacemente la visual identity di una pizzeria e come la fotografia professionale possa rappresentare un segno distintivo per un'attività imprenditoriale di ristorazione.Questa puntata è stata registrata di fronte a un pubblico dal vivo al Podcafe di The Spark - Creative Hub, a Napoli, organizzato dall'Assipod. Abbiamo dedicato anche uno spazio di domande dal pubblico che potete ascoltare nella versione integrale della puntata disponibile agli abbonati di Buy Me A Coffee.Sempre per amore della pizzaSostienici su BUY ME A COFFEE per contenuti esclusivi ed episodi in anteprimaClicca qui per iscriverti al nostro canale Telegram! - pillole extra e anticipazioniClicca qui per partecipare alla chat: incontra altri appassionati di pizza e di podcast con cui scambiare opinioni.Il nostro profilo InstagramIl nostro profilo TikTokPuoi acquistare le magliette del podcast sul nostro store Etsy.La nostra attrezzatura:Microfono Simon/Peppe: Samson Q2UMicrofono ospiti: Maranz MPM-1000Registratore portatile: Zoom H1nMixer: Zoom Podtrack P4Filtro antipop: NeewerCuffie Simon: Behringer BH470Cuffie Peppe: Sony MDR-ZX110Partecipiamo al programma di Affiliazione Amazon.Acquistando tramite questi link sostieni il podcast con una piccola commissione.Grazie di averci ascoltato! :)Support the show

Un día como hoy, 24 de enero. Nacen: 1705, Farinelli. 1732, Beaumarchais. 1752, Muzio Clementi. 1776, E.T.A. Hoffmann. 1888, Vicki Baum Fallecen: 1920, Amedeo Modigliani. Conducido por Joel Almaguer Una producción de Sala Prisma Podcast. 2023.

A margine del nuovo appuntamento di Carta bianca al cinema Rossini di Venezia, abbiamo incontrato Gianluca Farinelli - direttore della Cineteca di Bologna, nonché nuovo presidente della Festa del cinema di Roma.Grazie all'aiuto di Silvia Lo Castro e Giada Hosseini abbiamo parlato con lui della rassegna di film restaurati più famoso d'Italia: il Cinema ritrovato di Bologna.

Episode 3: Kontratenorer vs kastratsangereJeg heter Astrid Kirschner, og dette er min podkast Barokkpodden!I dagens episode snakker jeg for første gang med en gjest, nemlig med den australske kontratenor-stjernen DAVID HANSEN. Vi sitter ikke på samme sted, men vi snakker sammen på Zoom – jeg i Oslo og han i Zürich. Han hjelper meg å få klarhet i en del spørsmål, for eksempel: Hvordan klarer han egentlig å synge så høyt at det låter som en kvinne? Og hva er egentlig forskjellen mellom en kontratenor og kastratsanger?David Hansen har bodd i Oslo siden 2007 og har brukt byen som base for sin internasjonale karriere som operasanger i den smale bransjen som kontratenor. Han har gjestet Den Norske Opera & Ballett i Oslo mange ganger, og har ellers sunget på operahus verden over. Han har bemerket seg i roller som Bertarido i Rodelinda ved Teatro Arriaga i Bilbao; Trinculo i The Tempest ved Santa Fe Opera; Orfeo i L'Orfeo ved Staatsoper i Berlin; Cherubino i Mozarts Figaros bryllup ved Teatro Verdi di Sassari; Farnace i Mitridate, re di Ponto ved La Monnaie i Brussel; Athamas i Händels Semele, også ved La Monnaie; Nerone i Monteverdis Poppeas kroning ved Boston Early Music Festival, Teatro Calderón og Victorian Opera; tittelrollen i Julius Cæsar ved Sächsische Staatsoper, Semperoper Dresden, Theater an der Wien og Teatro de la Maestranza de Sevilla.David Hansen er også en svært aktiv konsertsanger og har sunget under dirigenter som Nikolaus Harnoncourt, Sir Simon Rattle, René Jacobs, Marc Minkowski og Fabio Biondi, og med orkestre som Berlinfilharmonien, Les Musiciens du Louvre Grenoble og Concertgebouw, Amsterdam.I 2013 ga han ut platen Arias for Farinelli & Co., med Academia Montis Regalis og Alessandro De Marchi, og i 2018 kom hans innspilling One Charming Night (med Oslo Circles, LAWO) på markedet, begge til strålende internasjonale anmeldelser.Til hver episode av selve podkasten BAROKKPODDEN finnes det også en passende spilleliste med barokkmusikk på Spotify. Der kan du lytte til CD-innspillinger jeg anbefaler, og spillelisten til 3.episode er smekkfull av halsbrekkende italienske koloraturarier og vakre engelske sanger med dagens gjest - kontratenoren David Hansen!Søk den opp og kos deg med musikken!Her er linken til spillelisten:https://open.spotify.com/playlist/4vZq4O9uDFIANYzd21JnGG?si=df1133a7635945b5&pt=a8ce533fa66b3fa7cc7712c18bb40cc7*** Musikkeksemplene brukt i 3.episode Kontratenorer & kastratsangere:Henry Purcell: Come, ye Sons of Art, Away (Strike the viol), David Hansen, Oslo Circles (SIMAX)Henry Purcell: Come all to me, fra Timon of Athens Z 632, David Hansen, Oslo Circles (SIMAX)***Takk til Fond for Lyd og Bilde som støtter prosjektet Barokkpodden!Photo cred: Lars Bryngelsson*** Disclaimer: In my podcast Barokkpodden! I talk about different aspects of baroque music, composers, instruments, historical context and much more, and it is my sincere wish to give my interested listeners and my concert audience a better and deeper understanding of baroque music. Several record companies have given me their permisson to use their recordings of baroque music for this project. Thank you very much! Some of the record companies have limited their permission to max 30 seconds of each music clips, others have allowed me to use music clips in full length. I'm a musician myself, and I certainly do not want to hurt any other musician's rights or copy right. I hope I can increase the love to and knowledge about baroque music with this project, but if you are a musician, and prefer not to be a part of this podcast, please let me know, then I will make the changes accordingly.Best wishes,Astrid Kirschnerasursula@online.no

From a young age, John Farinelli dealt with depression, anxiety, insomnia, and chronic physical health issues. Through his search to break out of his prison of emotional and physical pain, he recognized a key component was the physiological element of diet and lifestyle. He improved by focusing on those areas, but he didn't actually truly get well until he incorporated another vital element into his life, one that evades conventional medicine. We discover what that is in this episode. In this episode, you will learn the following: How it is possible to release trapped emotional energy. How food can point to the root causes of our broader life issues. What are some watch out down sides to healing diets, in terms of the relationship we may unknowingly take on with food and how that can impact other areas of life? Resources: Bonus gift from John! www.johnfarinelli.com/kara IG: @john.farinelli Other episodes you'll enjoy: 144. Heal Your Hunger - Tricia Nelson 171. Gut Health - Steve Wiltshire 174. The Inherent Wisdom of the Body - Teresa Bruni Support the show:     BestMade Natural Products: Enter code Kara10% to receive 10% off your order Viori Shampoo and Conditioner Bars: Enter code KARA for 10% off Libsyn Podcast Hosting: Up to two months free with code TMC Visit my sponsors page to see all deals on things I love and support the show! Connect with me: themeditationconversation@gmail.com www.karagoodwin.com IG: @kara_goodwin_meditation FB: @karagoodwinmeditation Loved this episode? Leave us a review and rating here: https://podcasts.apple.com/us/podcast/the-meditation-conversation-podcast/id1442136034

Le elezioni di midterm sono uno spartiacque nella politica globale. Analizziamo il voto assieme ad Arianna Farinelli, scrittrice e giornalista che da New York ci racconta numeri e prospettive di questa tornata elettorale.

Los reyes Felipe V y su hijo Fernando VI, en la primera mitad del siglo XVIII, sufrieron graves enfermedades mentales. Ambos tenían carácter melancólico y depresivo, pero a Felipe V, en concreto, quizás se le hubiera diagnosticado hoy un trastorno bipolar, incapacitante para reinar. Quizás conocieras estos datos, pero es posible que no sepas cómo superaron algunos momentos de aguda depresión. Fue con la música. Y concretamente con la ayuda del divo de la ópera Farinelli, el famoso castrato italiano, que acompañó y fascinó con su voz a ambos reyes.

Una vita avventurosa da agente segreto completamente inventata per costruire un sistema di truffe. L'impostura perfetta che ha fregato le massime cariche dello Stato.See omnystudio.com/listener for privacy information.

Mon B.O. Ciné, les mercredi et vendredi à 19h. Chaque mois, Vincent Cateigne et la Voix Basse décortiquent un film par le prisme de sa bande originale et de son histoire. Ce mois-ci, gros plan sur Farinelli , film réalisé par Gérard Corbiau en 1994. Riccardo Broschi, compositeur, fait castrer son petit frère Carlo, futur Farinelli, afin qu'il conserve cette voix cristalline sans laquelle la musique de Riccardo ne vaudrait rien. Les deux frangins parcourent ainsi les opéras à travers le monde. Mais un jour, la belle Alexandra leur demande de performer dans un théâtre de Londres en faillite. Les frères Broschi acceptent! Une concurrence féroce s'engage alors avec une autre institution: le Covent Garden, dont le propriétaire veut récupérer la voix de Farinelli. Au programme de l'émission: de la musique classique, des anecdotes, La Voix Basse et sa chronique, et un invité au top: Florian Sempey, le barython prodige! What else?

Dailes teātra izrāžu kalendārā Viestura Kairiša jaunākais  iestudējumu „Farinelli un karalis”. Izrāde rādīta, atklājot Dailes teātra 103.sezonu, atgriežamies pie jauniestudējuma, barokālas kostīmdrāmas par mīlestības un mūzikas dabu. Izrāde “Farinelli un karalis” Dailes teātra Lielajā zālē  šonedēļ būs skatāma  divus vakarus 11.un 12.oktobrī,  pēc tam  - 28.oktobrī.

Monica Farinelli"Kum! Festival"https://www.kumfestival.it/Il tema del fine vita chiude un ciclo aperto a suo tempo con l'edizione del festival dedicata a L'origine della vita.La crisi pandemica che ha colpito le nostre società non ha fatto che rendere più drammatica un'esperienza che interroga da sempre la vita umana. Come e più di tutte le soglie che la nostra avventura attraversa, l'ultima si carica di significati molteplici e proietta la sua ombra potente sulle precedenti.Ma il fine vita è ancora un momento della vita, un passaggio in cui è possibile fare qualcosa di sé, un'occasione in cui dare testimonianza di un'esistenza e raccogliere la testimonianza di chi l'ha accompagnata e la accompagna. Ecco perché il tempo della fine è un tempo enigmatico, apre domande etiche, scuote la politica, divide l'opinione pubblica, suscita controversie giuridiche, interroga le pratiche mediche e i saperi scientifici, sfida le più antiche tradizioni religiose.Così il festival allargherà lo sguardo per cerchi concentrici, estendendo l'interrogazione alla fine delle grandi narrazioni storiche, al tramonto di mondi culturali e assetti geopolitici, alla catastrofe climatica che sembra procedere inarrestabile, alla nascita e alla morte delle stelle e degli universi.Federico Leoni, Massimo RecalcatiKum! FestivalSabato 15 ottobre 2022, ore 11.30Dialoghi "L'importanza del nome"con Monica Farinelli e Maurizio BalsamoPsicoterapeuta e psicoanalista. Docente titolare delle sedi IRPA (Istituto di Ricerca di Psicoanalisi Applicata) di Milano e di Ancona. Socio di Jonas Onlus, collabora come psicoterapeuta e psicoanalista con la sede milanese di Jonas oltre che esserne un membro del Consiglio Direttivo. Membro anche del Consiglio Direttivo di Jonas Italia, ente di coordinamento delle diverse sedi Jonas sul territorio nazionale. Socio SMP (Società Milanese di Psicoanalisi).Sua la cura di "Come si costruisce un caso clinico nella pratica della psicoanalisi?" e "Del sesso" entrambi editi da Mimesis.IL POSTO DELLE PAROLEAscoltare fa Pensarehttps://ilpostodelleparole.it/

NOTE: This interview was recorded in April 2022, so all mentions of time reflect that period. Today, I am so happy to annnounce my interview with veteran actor Simon Jones, star of The   Real Thing, Trouble in Mind, Waiting in the Wings, The Gilded Age, and so many more shows. Tune in today to hear some of the stories of his long career, including: a murderous slip-of-the-tongue by Angela Lansbury, the role that Lauren Bacall refused to play correctly, an ungracious invite from Joan Collins, his family connection to Daniel Craig, the rivalry between Rex Harrison and Claudette Colbert, how he knocked his teeth out during My Fair Lady, an alcoholic backstage ritual during Farinelli and the King, the young actor that Lawrence Olivier wanted to punch, the oddness of rehearsing with Nicol Williamson, a cryptic answer from Tom Stoppard, running the theater company TACT, the many reunions involved in The Gilded Age, his strange experience with Covid, and so much more. You won't want to miss this episode with a delightfully funny gentleman of the theater.

La Scommessa sul digitale quando nessuno ci credeva, un blog che ha promosso Firenze in tutto il mondo, la "conversione" ad un linguaggio visuale e di breve durata.Tutto questo e molto altro ha costellato la ricchissima carriera di Elena Farinelli, indissolubilmente legata a Firenze ed oggi ospite del podcast per parlare di strategie sui canali social.In ben 22 anni di esperienza, Elena è stata blogger, formatore e consulente in particolare per enti e strutture turistiche.Nell'episodio di oggi abbiamo discusso vari argomenti:- 01:30 perché Elena ha deciso di lanciare il blog Io Amo Firenze, in tempi non sospetti- 03:20 il segreto per mantenere il successo passando da un mezzo testuale come il blog, ad uno visuale come Instagram- 05:20 la strategia suggerita alle strutture turistiche per recuperare clienti, dopo 2 anni di chiusure- 07:28 3 strumenti digitali imprescindibili per praticare il marketing turistico- 12:12 (col senno di poi) le scelte azzeccate che hanno segnato una svolta nella carriera di Elena- 16:19 perché non puoi fare ancora a meno di editoria e cartaceo nel marketingTi ricordo che puoi ancora partecipare al corso di formazione di Elena Farinelli su Instagram e Short Video, in programma a Firenze il 1 ottobre 2022.Iscriviti qui: https://www.ioamofirenze.it/corso-social-media-marketing-firenze/

Viņš ir maksātnespējas administrators Matīss spēlfilmā “Mīlulis”, kuras pirmizrāde gaidāma šajā nedēļā; viņš ir arī teātra impresārijs Džons Ričs izrādē “Farinelli un karalis” Dailes teātrī. Par skatuves un kino mākslu – par debiju kino un tikko aizvadīto pirmizrādi teātrī Kultūras rondo saruna ar aktieri Kārli Arnoldu Avotu. Šobrīd Kārlim Arnoldam sākusies trešā sezona Dailes teātrī, vēl šogad būs pirmizrādes divām filmām, kurās viņš atveido galveno varoni. Viņš ir Jazis Viestura Kairiša filmā "Janvāris", kas vēsta par barikāžu laiku, un Matīss – topošais maksātnespējas administrators Staņislava Tokalova filmā "Mīlulis". Bet viņa sirds visvairāk šobrīd pieder spēlfilmas projektam "Uļa", kas vēstīs par slaveno basketbolisti Uļjanu Semjonovu. Filma ir Kārļa Arnolda Avota izlolota ideja, viņš ir scenārija autors un atveidos arī galveno lomu.

Er war ein Popstar, eine Legende, er gilt als eines der größten Stimmwunder der Musikgeschichte. Carlo Maria Michelangelo Nicola Broschi, besser bekannt als Farinelli. Der Klang seiner Stimme soll die Zuhörer in rauschähnliche Zustände versetzt haben.

Er war ein Popstar der Oper: Carlo Nicola Broschi, besser bekannt als Farinelli, gilt als eines der größten Stimmwunder aller Zeiten. Er konnte über drei Oktaven singen, Frauen sollen beim Klang seiner Stimme begeistert in Ohnmacht gefallen sein. Farinelli war ein Kastrat - und der berühmteste Vertreter dieses zweifelhaften Kapitels der Musikgeschichte. Autor: Christoph Vratz Von Christoph Vratz.

As noted in the previous episode, auditions are the backbone of this industry. It is the fundamental job of every actor to do as many jobs as we can and do each one to the best of our ability. But there is an important gatekeeper when it comes to submitting our self tapes or actually getting in the audition room, and that is the casting Director. You've heard from Actors and their experiences in front of the audition table. Well, now it's time to hear from the other side of that proverbial table and what goes in to casting, and the vital role they play in the production for the stage or screen. Daryl Eisenberg, along with fellow casting director Ally Beans, works to create a comfortable space for actors, so they can take risks and really show their full potential as artists. You'll hear Daryl's thoughts on how actors can make their mark in the audition room or on a self-tape, and then you'll get an in-depth, behind-the-scenes look at how she uses her position and expertise to make the audition process enjoyable and inclusive for artists on both sides of the table. Learn more about WINMI Podcast at whyillnevermakeit.com  Subscribe to WINMI and get access to Bonus Episodes on Supercast  Donate to the production efforts that make this podcast possible Follow Why I'll Never Make It on Instagram or Twitter Watch interviews on WINMI's YouTube channel Read the Final Five with Daryl Eisenberg on the WINMI Blog ---------- Why I'll Never Make It is an award-winning, top 25 theater podcast and is hosted by Off-Broadway actor and singer Patrick Oliver Jones. It is a production of WINMI Media, LLC. and is also a part of Helium Radio Network and a member of the Broadway Makers Alliance.  Background music in the episode is by John Bartmann (Public Domain) and Blue Dot Sessions (Creative Commons Attribution-NonCommercial 4.0 International License).     Audition Stories of Diversity and Inclusion Covid certainly has changed the way we now audition, with self-tapes and Zoom auditions becoming the norm. But the summer of 2020 also changed the way we think about who is coming to the auditions and what that creative team looks like. In this week's bonus episode, Daryl shares a few of her own experiences as she advocates for more diversity on both sides of the table. You'll also hear how she works with fellow casting director Ally Beans, who is both partner and collaborator in the casting process. Bonus episodes like these are only available to monthly supporters of Why I'll Never Make It. So if you'd like to help this podcast as well, then please consider a monthly subscription and get access to bonus episodes like the Audition Stories.     CASTING OFFICES IN NYC Some of the biggest casting offices for stage and screen (like Eisenberg/Beans) reside in New York City, and at the top of the list is... The Telsey Office Formerly known as Telsey + Company, The Telsey Office is perhaps the best known casting office for commercials, film, television, and course, theatre. The company has bases in both New York City and Los Angeles. Recent Broadway: Waitress, MJ the Musical, Flying Over Sunset, Mrs. Doubtfire, Diana, West Side Story, Tina, The Sound Inside, Beetlejuice, Gary, Oklahoma!, Be More Chill, To Kill a Mockingbird, Network, The Cher Show, The Prom. Website: www.thetelseyoffice.com Contact: info@thetelseyoffice.com | 917-277-7520 Tara Rubin Casting Rubin began her company in 2001 after working for 15 years as a Casting Director at Johnson-Liff Associates. She is a graduate of Boston University and serves on the board of the Casting Society of America. Recent Broadway: Six, Ain't Too Proud, Summer, The Band's Visit, Prince of Broadway, Bandstand, Indecent, Miss Saigon, Dear Evan Hansen, A Bronx Tale, Cats, Disaster! Website: www.tararubincasting.com Contact: tararubincasting.info@gmail.com | 212-302-3011 Binder Casting Binder Casting was founded nearly 40 years ago by Jay Binder, who passed away in April 2022, and has been a part of RWS Entertainment Group since 2016. The office has cast 150+ Broadway, Off-Broadway, and National Touring productions, in addition to countless national and international projects spanning both stage and screen. Recent Broadway: The Lion King, In Transit, Dames at Sea, It Shoulda Been You, A Gentleman's Guide to Love and Murder, Nice Work if You Can Get It, Born Yesterday, White Christmas, Finian's Rainbow. Website: bindercasting.com Contact: info@bindercasting.com | 212-586-6777 Stewart/Whitley An award-winning office in New York City that delivers excellence and innovation in casting. Respect for the creative process: the artistic teams, actors and all who collaborate in it is paramount. Connecting creativity is at the cornerstone of what they do. Recent Broadway: Hadestown, The Lightning Thief, Natasha, Pierre and the Great Comet of 1812, Pippin, Chicago Website: www.stewartwhitley.com Contact: info@stewartwhitley.com | 212-635-2153 Wojcik Casting Team Wojcik/Seay Casting opened its doors in January of 2009 with the national non-union tour of Joseph and the Amazing Technicolor Dreamcoat and has also been featured in Season 2 of the podcast. But Gayle Seay has since gone to become Artistic Director of Stages St. Louis, while Scott Wojcik continues to cast shows in and out of New York. Recent Broadway: Jesus Christ Superstar, Motown Website: wscasting.com Contact: info@wscasting.com Jim Carnahan, CSA Recent Broadway: Moulin Rouge!, Kiss Me, Kate, Tootsie, Burn This, The Ferryman, Head Over Heels, Travesties, Harry Potter and the Cursed Child, Angels in America, Farinelli and the King, Time and the Conways, 1984, Groundhog Day, The Price, The Cherry Orchard, Long Day's Journey Into Night, She Loves Me, Noises Off, Fun Home. Stephen Kopel, CSA Recent Broadway: Moulin Rouge!, Jagged Little Pill; Kiss Me, Kate; The Play That Goes Wrong; Beautiful; Sunday in the Park with George; Amélie; She Loves Me; Noises Off; Violet; The Glass Menagerie; Harvey; Once; Anything Goes Caparelliotis Casting Recent Broadway: The Minutes, Who's Afraid of Virginia Woolf, In the Height of the Storm, Ink, Hillary and Clinton, King Lear, The Waverly Gallery, The Nap, The Boys in the Band, Saint Joan. Daniel Swee, CSA Recent Broadway: Pass Over, The Great Society, To Kill a Mockingbird, Six Degrees of Separation, Oslo, The Present, The Heidi Chronicles, The Audience Cindy Tolan, CSA Recent Broadway: Company, The Curious Incident of the Dog in the Night-Time, Betrayal, Macbeth, Rodgers + Hammerstein's Cinderella. Other standouts on the theatre scene: Bass/Valle Casting Bob Cline Casting Franck Casting HBD Casting Jamibeth Margolis Casting Klapper Casting Laura Stanczyk Casting Michael Cassara Casting  

"Gli ultimi americani" di Arianna Farinelli (Mondadori), scrittrice italiana che vive negli Stati Uniti e che aveva esordito con "Gotico americano" (Bompiani). Nei suoi romanzi la cultura italiana si mescola a quella americana, si concentra sul concetto di identità che può essere legata a una lingua o a un luogo. Questo è un romanzo a tre voci: Alma, italiana che vive a New York, "lo scrittore" e Lola, che è stata a lungo compagna dello scrittore. Alma e lo scrittore sono amanti, ma con Lola non ci sono tensioni o gelosia, anzi fra le due donne c'è quasi una sorellanza soprattutto dopo che lo scrittore si suicida. Nel romanzo le riflessioni esistenziali sulla vita e sulla morte si intersecano con le riflessioni sulle radici e sull'essere immigrati (lo scrittore e Lola arrivano dalla Colombia e Lola è clandestina). Nella seconda parte parliamo di un libro che parla di libri e che è scritto da una libraia: lei si chiama Cristina Di Canio, il libro è "La libraia tascabile" (Giunti). Cristina Di Canio era titolare di una libreria nota a Milano, "Il mio libro", meglio conosciuta come "La scatola lilla" che purtroppo è stata chiusa (ma riaprià in altro luogo a gennaio 2023). Ora Cristina Di Canio si definisce "libraia liquida", fa le consegne a domicilio e continua a organizzare iniziative che coinvolgono scrittori e lettori. In questo libro racconta alcuni episodi e alcuni aneddoti della sua vita da libraia.

Giacomo Cardinali"Il giovane Mozart in Vaticano"L'affaire del Miserere di AllegriSellerio editore Palermohttps://sellerio.it/it/La straordinaria avventura del giovane Mozart a Roma e il celebre affaire della sua trascrizione a memoria del Miserere di Gregorio Allegri. Una ricostruzione storica autorevole che si legge come un romanzo, leggero, vivace e anche impertinente, come non sarebbe dispiaciuto al suo protagonista.L'11 e il 13 aprile 1770 sotto la volta della Cappella Sistina si ritrovarono, tra le decine di presenti avvolti nel suggestivo buio della liturgia pasquale, due uomini: un ragazzino già prodigio-so e destinato a fama immortale, e uno di cui la Storia non avrebbe ritenuto nemmeno il nome, se non ne fosse stata ora scoperta una traccia in un manoscritto della Biblioteca Apostolica Vaticana. Il prodigio era Wolfgang Amadeus Mozart, lo scampato all'oblio Carlo Cristofari da Novara. I due si sarebbero incontrati nuovamente qualche sera più tardi in occasione di un ricevimento romano, quando nello stupore generale avrebbero discorso per qualche tempo, loro due soli, in tono di immediata complicità, per poi non rivedersi mai più; ma il danno era ormai fatto.La nuova fonte manoscritta, incrociata con la cronaca e i documenti del tempo, e con l'epistolario mozartiano, permette una ricostruzione più dettagliata e vivida del celebre affaire della trascrizione a memoria, effettuata da Mozart, del Miserere di Gregorio Allegri, di cui era proibita ogni divulga-zione e che veniva eseguito due volte l'anno ed esclusivamente dai Cantori della Cappella Sistina, di cui Cristofari da appena un mese era entrato a far parte. Attorno a questo episodio ruotano i personaggi più diversi: dal nuovo pontefice agli osti di Roma, dal castrato Farinelli a ministri e ambasciatori, da spie e sbirri a vecchie glorie del teatro lirico europeo, a cardinali e biscazzieri. E poi le estenuanti controversie sindacali dei cantori sistini, storie di raccomandazioni e di impresentabili, preghiere e suppliche per il bel tempo e per la pioggia, stipendi e regalie, esecuzioni musicali e multe, e un ricchissimo corredo di editti e di divieti a impedire tanto i giochi invernali quanto i refrigeri estivi. Fino all'ignobile gogna che sabato 31 marzo 1770 ha attraversato la città tra insulti e lanci di verdura marcia in una Roma ostinatamente refrattaria a ogni Illuminismo.Giacomo Cardinali (Mondavio, 1977), filologo e paleografo, si occupa per lavoro di manoscritti e di libri a stampa tra XVI e XVIII secolo, di storia del collezionismo e di letteratura neolatina.IL POSTO DELLE PAROLEascoltare fa pensarehttps://ilpostodelleparole.it/

Claire Van Kampen is an accomplished composer, arranger, playwright, screenwriter and director.She became the first female musical director with both the Royal Shakespeare Company and the Royal National Theatre. Claire has been the Director of Theatre Music at Shakespeare's Globe Theatre since 1997, where she has created both contemporary and period music for 30 of the Globe's productions. Claire joined us to talk about her extensive career composing for theatre and film. Hear Claire talk about infiltrating the man's world of classical composing and how she has continued to break down barriers throughout her career. Listen in as Claire speaks about learning to play the piano, how much she enjoys fitting music to picture, the joy of working in theatre, meeting her husband and working together at The National Theatre, London and then working together on further major theatrical shows in London and in the US. Share in Claire's memories of working in the studio, working at Shakespeare's Globe Theatre and so much more;, accompanied by music composed by Claire or that she loves. Claire is currently working on several new projects that include directing the film It Never Entered My Mind, writing a book on the music of the Globe theatre, directing a new approach to the classic ballet of Swan Lake and directing an opera, written by Farinelli's brother, which has not been performed since 1730! Stay tuned for the music sync session featuring artists who  submitted their music for sync opportunities running through The Sync Report. Music. Music is the difference between a good film and a great one. Songs included in this episode are... Sleep No more by Claire Van Kampen Fascinating Rhythm by George Gershwin  Violin Sonata Fourth movement by Cesar Franck Violin Concerto in Dm by J.S. Bach Thin Ice  by Claire Van Kampen Measure for Measure - Jig Boeing - Boeing by  Claire Van Kampen Sync Sessions Featuring:  Gotta Dance by Chrissy Roberts/Tyler Larson   Caldera by OG Mason Higher by Lisa Dunn & Coleen Stewart   Running In The Woods by David Kowal   2 Sense  Music presents The Sync Report, where you will meet industry experts and top level songwriters as we pull the curtain back on music placement and scores, build vital relationships and provide real opportunities to our listeners. Listen to indie filmmakers present their latest productions and describe specific scenes as they consider music submitted by our audience. Please tell your friends about us, and remember to rate, comment, & subscribe to us on Apple Podcasts and across all platforms.  And find us at The Sync Report here TSR Website  Facebook  Instagram Twitter Youtube Linkedin Tik Tok  TSR PODCAST is.... Hosted By: COLIN O'DONOGHUE - ROSE GANGUZZA - JASON P ROTHBERG Featuring: MILFREDO SEVEN - KEVIN SHARPLEY - PAULA FLACK and WILLOW Produced By: JASON P ROTHBERG - KEVIN SHARPLEY - PAULA FLACK - ROBERT CAPPADONA Executive Producers: COLIN O'DONOGHUE - ROSE GANGUZZA - JASON P ROTHBERG - KEVIN SHARPLEY - GIANFRANCO BIANCHI - DEAN LYON Writers: JASON P ROTHBERG - KEVIN SHARPLEY - LISA DUNN - PAULA FLACK Editors: JASON P ROTHBERG - MILFREDO SEVEN - PAULA FLACK EDGAR “EDGE” CAMEY - ADAM MCNAMARA - MILES JAHNSEN Marketing Director: PAULA FLACK Music Supervisors: DAWN WISNER-JOHNSON - PHILL MASON Music Department: BETH WISNER-JAHNSEN Foley: PHILL MASON Research: LISA DUNN Art Director: GIANFRANCO BIANCHI Graphic Design: JODYLYNN TALEVI  College Programs: DR STACY MONTGOMERY Interns: SAOIRSE CONNOLLY-LANDON KEROUAC-ANGELA NICASTRO-HEATHER RAGNARS

El telescopio espacial Hubble nos ha permitido asomarnos al universo primitivo con la detección de una estrella –Eärendel-- situada a 12.900 millones de años luz de la Tierra. Hemos informado de este hallazgo con testimonios de José María Diego, investigador del Instituto de Física de Cantabria (CSIC) y uno de los autores de este estudio. En textos sumerios de hace 4.000 años ya encontramos referencias a la rabia, una de las muchas enfermedades que, como la leishmaniosis o la triquinosis, nos han acompañado a lo largo de la evolución. Curiosamente, todas ellas presentan un punto en común: tienen su origen en los animales. Son las llamadas enfermedades zoonóticas. Se estima que el 60% de los patógenos humanos son de origen animal y que el 75% de las enfermedades animales emergentes pueden transmitirse a humanos como ha ocurrido con la COVID 19. La salud humana está directamente relacionada con la salud animal y tanto una como otra dependen a su vez del cuidado del medioambiente. Es lo que se conoce como One Health, una sola salud. Hemos entrevistado a Bruno González-Zorn, catedrático de Sanidad Animal y director de la Unidad de Resistencia a Antibióticos de la Complutense, e investigador del Centro de Vigilancia Sanitaria Veterinaria (VISAVET). El doctor Pedro Gargantilla nos ha hablado de los castrati, cantantes de ópera que eran emasculados de niños para que conservaran sus voces blancas. Fueron muy populares en los siglos XVIII y XIX, especialmente en Italia donde figuras como Carlo Broschi «Farinelli» o Gaetano Majorano «Caffarelli» eran verdaderos ídolos. Enrique Sacristán (SINC) nos ha informado de un estudio sobre el empleo del metano como indicador de la posible existencia de vida en exoplanetas. Lluis Montoliu nos ha hablado de la comercialización de unos tomates editados con la técnica CRISPR para que tengan un mayor contenido en GABA (ácido gamma-aminobutírico), un neurotransmisor que tiene un efecto calmante en situaciones de ansiedad o estrés y reduce la presión sanguínea. Eulalia Pérez Sedeño ha trazado la biografía de la matemática y criptoanalista británica Joan Elisabeth Lowther Clarke, una de las integrantes junto a Alan Turing del proyecto Enigma, que descifró las comunicaciones secretas de la Alemania nazi. Hemos reseñado los libros "La cosmovisión de los grandes científicos de la Ilustración. Convicciones éticas, políticas, filosóficas o religiosas de los protagonistas de la ciencia en el siglo XVIII", obra coral dirigida por Juan Arana (Tecnos); "Las infinitas vidas de Euclides. Historia del libro que forjó nuestro mundo", de Benjamin Wardhaugh (Shackleton Books); "Vera Rubin. Una vida", de Jacqueline y Simon Mitton (Shackleton Books); "Algo nuevo en los cielos", de Antonio Martínez Ron (Crítica); "Historia de la Mineralogía. Geología e historia de los minerales que han cambiado el mundo", de Guiomar Calvo (Guadalmazán). Escuchar audio

Nei suoi noir con Carlo Monterossi (autore tv prestato alle indagini) Alessandro Robecchi mette a fuoco le storture della società, le contraddizioni, i meccanismi criminali che a volte coinvolgono persone insospettabili. In "Una piccola questione di cuore" (Sellerio) Robecchi decide però di mettere sotto la lente di ingrandimento anche l'amore. E così i lettori seguono le riflessioni di Monterossi sull'amore, ma anche quelle degli altri personaggi come il sovrintendente di polizia Ghezzi, sposato da trent'anni con Rosa, e il collega Carella che finalmente frequenta una donna. Come spesso accade nei romanzi di Robecchi, ci sono due indagini destinate a incrociarsi. Da una parte gli investigatori privati Oscar Falcone e Agatina Cirrielli (insieme a Monterossi) ricevono da un giovane l'incarico di rintracciare la sua donna scomparsa da una settimana. Dall'altra Ghezzi e Carella devono indagare in via riservata sull'omicidio di un uomo considerato un fenomeno della finanza. Nella seconda parte parliamo di "Gli ultimi americani" di Arianna Farinelli (Mondadori), scrittrice italiana che vive negli Stati Uniti e che aveva esordito con "Gotico americano" (Bompiani). Nei suoi romanzi la cultura italiana si mescola a quella americana, si concentra sul concetto di identità che può essere legata a una lingua o a un luogo. Questo è un romanzo a tre voci: Alma, italiana che vive a New York, "lo scrittore" e Lola, che è stata a lungo compagna dello scrittore. Alma e lo scrittore sono amanti, ma con Lola non ci sono tensioni o gelosia, anzi fra le due donne c'è quasi una sorellanza soprattutto dopo che lo scrittore si suicida. Nel romanzo le riflessioni esistenziali sulla vita e sulla morte si intersecano con le riflessioni sulle radici e sull'essere immigrati (lo scrittore e Lola arrivano dalla Colombia e Lola è clandestina).

Auteur Daan Esch neemt u mee naar het Italië van de 18de eeuw, naar de wereld van de opera waar op dat ogenblik een ware castraten-manie heerste. Elk had zo zijn eigen manier van zingen. En dat had natuurlijk veel met hun scholing te maken. Er waren in Italië 2 conservatoria die de toon zette : een in Bologna en een in Napels. In Napels was onder meer Nicola Porpora als leraar actief. Zijn beroemdste leerling was Farinelli. En ook Joseph Haydn was bij hem in de leer.

Cathy tells Eimear the leg crossing true a story of Carlo Maria Michelangelo Nicola Broschi the greatest castrato of all time and all round nice guy  known simply as Farinelli.  All together now, "One God, One Farinelli!"All songs referenced can be found on our Spotify playlist:https://open.spotify.com/playlist/1cyMUXduglZlcOt7X6Dr7dAnd Instagram for all our visual references:https://www.instagram.com/operabluffs/Follow us on Twitter https://twitter.com/OBluffs

En este capitulo hablamos de: Farinelli y los castrati, Felipe y el eunuco, El complejo de castración, Los eunucos en la corte real, Fertilidad y virilidad, Guardianes del harén, Y más sobre los eunucos.

Sam takes a closer look at a Hong Kong protest song and announces a competition, Tim talks to Freya Waley-Cohen and William Marsey of Listenpony, as well as the BBC National Orchestra of Wales' Meurig Bowen, PLUS the duo talk Gerald Barry, Farinelli and (missing) testicles. Music Credits: ‘Great Balls of Fire' by Otis Blackwell and Jack Hammer, performed by Timmy Fisher‘Glory to Hong Kong' by Thomas dhx yhi 'O Fortuna' from Carmina Burana by Carl Orff, performed by the Atlanta Symphony‘Son qual nave che agitata' by Farinelli, performed by Ann Hallenberg and Stile Galante Jean Sibelius, Symphony No. 5, Mov. 3 performed by Timmy Fisher Link to the score for ‘Glory to Hong Kong': https://musescore.com/user/10411781/scores/5706562Follow us here: instagram.com/classicalpod/ twitter.com/ClassicalPod facebook.com/ClassicalPod/

During our two-week run of William Shakespeare's Long Lost First Play (abridged) at the New Victory Theatre in New York City we had the opportunity to see many fantastic shows, both on and off-Broadway, and between our final two performances we chatted about what we saw, what we liked, what we were disappointed in, what surprised us, what challenged us, and what completely blew us away. Featuring thoughts, opinions, critiques, and appreciations of Lobby Hero, School of Rock, Farinelli and the King, In & Of Itself, Chicago, A Bronx Tale, The Low Road, SpongeBob Squarepants, Three Tall Women, John Lithgow, Hamilton, and The Band's Visit -- plus tales of personal John Lithgow connections, out-of-the-ordinary shows, accidental benefits of snow days, excellent direction and not-so excellent direction, and wonderful moments of deeply moving exquisite joy. (Length 27:12)