Podcasts about San Giorgio

... con Don Massimo Tellan a Santa Maria dell'Orto in Trastevere (Roma), in occasione del Capitolo Generale della Compagnia di San Giorgio.

Fluent Fiction - Italian: Unraveling the Spada di San Giorgio: A Tale of Adventure Find the full episode transcript, vocabulary words, and more:fluentfiction.com/it/episode/2026-04-28-07-38-19-it Story Transcript:It: Il sole di primavera filtrava attraverso le finestre rotte, proiettando ombre danzanti sul pavimento polveroso del magazzino abbandonato.En: The spring sun filtered through the broken windows, casting dancing shadows on the dusty floor of the abandoned warehouse.It: L'aria era carica di un odore di ruggine e antiche memorie.En: The air was heavy with a smell of rust and ancient memories.It: Alessandro e Giovanna si trovavano lì, spinti dalla curiosità e dalla leggenda di un tesoro nascosto.En: Alessandro and Giovanna were there, driven by curiosity and the legend of a hidden treasure.It: Alessandro, un giovane avventuroso con occhi pieni di mistero, esplorava ogni angolo con entusiasmo.En: Alessandro, a young adventurer with eyes full of mystery, explored every corner with enthusiasm.It: "Guarda qui, Giovanna!"En: "Look here, Giovanna!"It: urlò, sollevando un pacchetto avvolto in tela cerata.En: he shouted, raising a package wrapped in oilcloth.It: Giovanna, più cauta ma leale, si avvicinò con esitazione.En: Giovanna, more cautious but loyal, approached with hesitation.It: "Sei sicuro che sia sicuro?"En: "Are you sure it's safe?"It: chiese, scrutando il pacchetto con sospetto.En: she asked, scrutinizing the package suspiciously.It: "A volte bisogna rischiare per scoprire la verità!"En: "Sometimes you have to take risks to discover the truth!"It: rispose Alessandro, srotolando l'involucro per rivelare un insieme di strani indizi.En: replied Alessandro, unwrapping the package to reveal a set of strange clues.It: Carte ingiallite, disegni criptici, e simboli mai visti prima richiedevano la loro attenzione.En: Yellowed papers, cryptic drawings, and symbols never seen before demanded their attention.It: Secondo le storie del paese, questo poteva essere legato all'antica leggenda della spada di San Giorgio, perduta secoli fa.En: According to the town's stories, this could be linked to the ancient legend of the spada di San Giorgio, lost centuries ago.It: Mentre studiavano i documenti, un brivido di eccitazione attraversò Alessandro.En: As they studied the documents, a thrill of excitement ran through Alessandro.It: Ma Giovanna ricordava le sue responsabilità.En: But Giovanna remembered her responsibilities.It: "Dobbiamo stare attenti," avvertì, temendo i pericoli di trappole e enigmi.En: "We have to be careful," she warned, fearing the dangers of traps and riddles.It: Insieme, affrontarono le sfide una ad una.En: Together, they faced the challenges one by one.It: C'erano mappe piene di codici da decifrare e meccanismi da superare.En: There were maps full of codes to decipher and mechanisms to overcome.It: Ad ogni enigma risolto, il loro coraggio cresceva, così come le perplessità di Giovanna.En: With each solved riddle, their courage grew, as did Giovanna's perplexities.It: Tuttavia, vedendo la determinazione di Alessandro, iniziò a fidarsi del suo istinto.En: However, seeing Alessandro's determination, she began to trust his instincts.It: Finalmente, giunsero all'ultimo enigma.En: Finally, they reached the last riddle.It: Giovanna trattenne il respiro mentre Alessandro sistemava un pezzo di metallo nell'ultimo foro.En: Giovanna held her breath as Alessandro placed a piece of metal into the final hole.It: Con un click deciso, la parete si aprì per rivelare un artefatto dorato e scintillante: la spada tanto cercata.En: With a decisive click, the wall opened to reveal a golden, sparkling artifact: the much-sought sword.It: La scoperta fece notizia nel piccolo paese, e l'artefatto trovò casa nel museo locale.En: The discovery made news in the small town, and the artifact found a home in the local museum.It: Alessandro e Giovanna furono salutati come eroi.En: Alessandro and Giovanna were hailed as heroes.It: Lui imparò il valore della prudenza, apprezzando la saggezza di Giovanna.En: He learned the value of caution, appreciating Giovanna's wisdom.It: Lei, dal canto suo, trovò una nuova fiducia nelle avventure e nel futuro da esplorare.En: She, for her part, found a new confidence in adventures and in the future to explore.It: Così, tra gli applausi e i sorrisi, la primavera portò con sé una nuova leggenda per il villaggio, una che parlava di amicizia, coraggio e della bellezza di affrontare insieme l'ignoto.En: So, amidst applause and smiles, spring brought with it a new legend for the village, one that spoke of friendship, courage, and the beauty of facing the unknown together. Vocabulary Words:the warehouse: il magazzinothe dust: la polvereancient memories: antiche memoriea package: un pacchettothe oilcloth: la tela ceratasuspiciously: con sospettoto take risks: rischiarethe truth: la veritàyellowed papers: carte ingiallitecryptic drawings: disegni cripticithe symbol: il simbolothe clue: l'indiziothe legend: la leggendathe sword: la spadathe riddle: l'enigmato decipher: decifrareto overcome: superarethe challenge: la sfidathe map: la mappathe mechanism: il meccanismothe courage: il coraggiothe determination: la determinazionethe instinct: l'istintoto place: sistemarethe click: il clickthe artifact: l'artefattogolden: doratosparkling: scintillantethe museum: il museothe wisdom: la saggezza

Fluent Fiction - Italian: Mystery in Tuscany: The Tale of the Missing Sculpture Find the full episode transcript, vocabulary words, and more:fluentfiction.com/it/episode/2026-04-23-07-38-19-it Story Transcript:It: Il sole splendeva sopra la villa in Toscana.En: The sun shone above the villa in Toscana.It: Era primavera, e il giardino della villa era un tripudio di colori.En: It was spring, and the villa's garden was a riot of colors.It: Gigli bianchi, rose rosse, e gialle margherite decoravano i viali.En: White lilies, red roses, and yellow daisies decorated the paths.It: L'aria era piena del profumo dolce dei fiori, mentre il vento leggero muoveva le foglie degli alberi secolari.En: The air was filled with the sweet fragrance of flowers, while a light breeze moved the leaves of the ancient trees.It: Luca, art historian curioso e appassionato di misteri, camminava lentamente tra le statue antiche.En: Luca, a curious art historian passionate about mysteries, walked slowly among the ancient statues.It: Oggi era il giorno della festa di San Giorgio e la villa era in fermento.En: Today was the day of the feast of San Giorgio and the villa was bustling.It: Tuttavia, un'ombra oscurava il suo umore: una scultura preziosa era scomparsa.En: However, a shadow darkened his mood: a precious sculpture had disappeared.It: Luca sentiva il bisogno di dimostrare a se stesso di essere più di un semplice studioso; voleva risolvere l'enigma.En: Luca felt the need to prove to himself that he was more than just a scholar; he wanted to solve the enigma.It: Alessia, la custode della villa, era preoccupata.En: Alessia, the custodian of the villa, was worried.It: Era fedele alla famiglia e proteggere l'eredità della villa era la sua missione.En: She was loyal to the family and protecting the villa's heritage was her mission.It: Sospettava di chiunque mostrasse interesse eccessivo per la collezione.En: She was suspicious of anyone showing excessive interest in the collection.It: E Giovanni, uno studioso in visita con un passato misterioso, era finito nel suo radar di sospetti.En: And Giovanni, a visiting scholar with a mysterious past, was on her radar of suspects.It: Nel pomeriggio, Luca osservò Giovanni da lontano.En: In the afternoon, Luca observed Giovanni from a distance.It: "Perché era così interessato alla scultura?"En: "Why was he so interested in the sculpture?"It: si chiese.En: he wondered.It: Decise di affrontarlo.En: He decided to confront him.It: "Giovanni," iniziò Luca con tono calmo, "ho notato che sei molto interessato alla scultura scomparsa.En: "Giovanni," Luca began calmly, "I've noticed you're very interested in the missing sculpture.It: Qual è il tuo interesse?"En: What is your interest?"It: Giovanni esitò un attimo, i suoi occhi tradivano un misto di sorpresa e imbarazzo.En: Giovanni hesitated for a moment, his eyes betraying a mix of surprise and embarrassment.It: "È solo una curiosità accademica," rispose, cercando di non mostrare emozioni.En: "It's just academic curiosity," he replied, trying not to show emotions.It: Luca non era convinto.En: Luca was not convinced.It: Aspettò il momento giusto per indagare più a fondo.En: He waited for the right moment to investigate further.It: Poco dopo, decise di perlustrare il giardino, sperando di trovare indizi sul destino della scultura.En: Shortly after, he decided to search the garden, hoping to find clues about the sculpture's fate.It: Accadde che Luca e Alessia, ormai alleati, scoprirono Giovanni nel recondito angolo del giardino.En: It happened that Luca and Alessia, now allies, discovered Giovanni in a secluded corner of the garden.It: Tentava di nascondere la scultura dietro un cespuglio fiorito.En: He was trying to hide the sculpture behind a blooming bush.It: "Giovanni!"En: "Giovanni!"It: esclamò Alessia, interdetta.En: exclaimed Alessia, taken aback.It: Giovanni alzò le mani in segno di pace.En: Giovanni raised his hands in a sign of peace.It: "Non volevo rubarla," spiegò in fretta.En: "I didn't want to steal it," he quickly explained.It: "Volevo assicurarmi che venisse preservata.En: "I wanted to ensure it was preserved.It: Volevo studiarla nella quiete, lontano da occhi indiscreti."En: I wanted to study it in peace, away from prying eyes."It: Luca e Alessia ascoltarono, sorpresi.En: Luca and Alessia listened, surprised.It: La verità veniva alla luce: le intenzioni di Giovanni non erano maliziose.En: The truth was revealed: Giovanni's intentions were not malicious.It: Insieme riportarono la scultura al suo posto nel giardino.En: Together they returned the sculpture to its place in the garden.It: Il proprietario della villa, informato dell'accaduto, accettò le scuse di Giovanni.En: The owner of the villa, informed of what had happened, accepted Giovanni's apologies.It: Capì che Giovanni cercava solo di proteggere e studiare l'arte.En: He understood that Giovanni only sought to protect and study the art.It: Per Luca, questo era un trionfo.En: For Luca, this was a triumph.It: Aveva risolto il mistero e guadagnato la fiducia di Alessia.En: He had solved the mystery and gained Alessia's trust.It: Si sentiva finalmente capace, non solo come storico dell'arte, ma come investigatore.En: He finally felt capable, not only as an art historian, but as an investigator.It: E una nuova amicizia era nata in quella villa toscana, dove la primavera portava non solo fiori, ma anche nuove speranze.En: And a new friendship was born in that Tuscan villa, where spring brought not only flowers, but also new hopes. Vocabulary Words:sun: il solespring: la primaveravilla: la villagarden: il giardinolilies: i gigliroses: le rosedaisies: le margheritepaths: i vialifragrance: il profumobreeze: il vento leggeroleaves: le foglietrees: gli alberishadow: l'ombrasculpture: la sculturaenigma: l'enigmacustodian: la custodeheritage: l'ereditàvisitor: lo studioso in visitasuspect: i sospettidistance: la distanzacuriosity: la curiositàemotions: le emozioniclues: gli indizicorner: l'angolobush: il cespugliopeace: la quietetruth: la veritàintentions: le intenzioniowner: il proprietarioapologies: le scuse

Fluent Fiction - Italian: Stormy Lessons: Adventure and Friendship in La Foresta Nera Find the full episode transcript, vocabulary words, and more:fluentfiction.com/it/episode/2026-04-23-22-34-01-it Story Transcript:It: Il cielo sopra la Foresta Nera era scuro.En: The sky above la Foresta Nera was dark.It: Le nuvole coprivano il sole mentre il vento sibilava tra gli alberi.En: The clouds covered the sun as the wind whistled through the trees.It: Era il 23 aprile, il giorno di San Giorgio.En: It was the 23rd of April, il giorno di San Giorgio.It: Gianni, Alessando e Francesca avevano scelto la giornata sbagliata per un'escursione, ma la voglia di avventura di Gianni era più forte di ogni avvertimento.En: Gianni, Alessandro, and Francesca had chosen the wrong day for a hike, but Gianni's thirst for adventure was stronger than any warning.It: "Coraggio, voglio vedere il panorama prima che inizi a piovere davvero," disse Gianni, con l'entusiasmo che brillava nei suoi occhi.En: "Come on, I want to see the view before it really starts to rain," said Gianni, with enthusiasm shining in his eyes.It: Alessandro, più calmo e riflessivo, e Francesca, prudente e attenta, lo seguirono, fidandosi della sua guida.En: Alessandro, more calm and thoughtful, and Francesca, cautious and attentive, followed him, trusting in his guidance.It: La foresta era magnifica.En: The forest was magnificent.It: Gli alberi alti e verdi sembravano infiniti, e il profumo della pioggia imminente era forte nell'aria.En: The tall and green trees seemed endless, and the scent of the impending rain was strong in the air.It: Gianni era davanti, cercando di dimostrare il suo coraggio.En: Gianni was in front, trying to prove his courage.It: Ma improvvisamente, il cielo si aprì e una pioggia battente cadde intensa sul gruppo.En: But suddenly, the sky opened up and heavy rain poured down on the group.It: "Gianni, forse è meglio tornare," suggerì Francesca, preoccupata.En: "Gianni, maybe it's better to go back," suggested Francesca, worried.It: "No, possiamo farcela," insisté Gianni.En: "No, we can make it," insisted Gianni.It: "Conosco una scorciatoia, da quella mappa che ho guardato."En: "I know a shortcut, from that map I looked at."It: I segni sul sentiero erano difficili da vedere.En: The trail markers were hard to see.It: Il fango rendeva il cammino scivoloso.En: The mud made the path slippery.It: Gianni guidava con determinazione, ma presto si accorse che il sentiero era scomparso.En: Gianni led with determination, but soon realized the trail had disappeared.It: Era davvero perduto.En: He was truly lost.It: La pioggia continuava a cadere, e il vento diventava sempre più forte.En: The rain continued to fall, and the wind grew stronger.It: Gianni cercava di ricordare il percorso sulla mappa, ma tutto sembrava diverso sotto la tempesta.En: Gianni tried to remember the route from the map, but everything looked different under the storm.It: Decise di prendere quel percorso, sperando di arrivare al punto panoramico in tempo.En: He decided to take that path, hoping to reach the viewpoint in time.It: Arrivò a uno spiazzo roccioso, ma il vento soffiava forte e quasi lo fece cadere.En: He arrived at a rocky clearing, but the wind blew fiercely and nearly knocked him over.It: Il cuore di Gianni batteva forte.En: Gianni's heart was pounding.It: Doveva fare una scelta.En: He had to make a choice.It: Continuare avanti era troppo pericoloso.En: Continuing forward was too dangerous.It: Fece un passo indietro e trovò riparo sotto uno sperone di roccia.En: He stepped back and found shelter under a rocky ledge.It: Era lì in quel momento di tranquillità che la lezione si fece chiara.En: It was there, in that moment of tranquility, that the lesson became clear.It: Accese un razzo di segnalazione.En: He lit a flare.It: Sapeva che Alessandro e Francesca sarebbero venuti a cercarlo.En: He knew that Alessandro and Francesca would come looking for him.It: Non passò molto tempo prima di vedere la luce del razzo brillare tra gli alberi.En: It wasn't long before he saw the light of the flare shining through the trees.It: "Gianni!"En: "Gianni!"It: gridarono i suoi amici, felici di vederlo sano e salvo.En: his friends shouted, happy to see him safe and sound.It: "Mi dispiace," disse Gianni, riconoscendo la sua avventatezza.En: "I'm sorry," said Gianni, acknowledging his recklessness.It: "Avrei dovuto ascoltarvi.En: "I should have listened to you.It: Ho capito che l'importante non è solo essere coraggioso, ma anche fare squadra e essere adattabili."En: I've learned that what's important is not just being brave, but also working as a team and being adaptable."It: La tempesta si placava, e i tre amici camminarono insieme verso casa, consapevoli che l'avventura non era solo nella sfida, ma anche nell'amicizia e nella cooperazione.En: The storm was easing up, and the three friends walked home together, aware that adventure was not only in the challenge but also in friendship and cooperation. Vocabulary Words:sky: il cieloforest: la forestaclouds: le nuvolesun: il solewind: il ventoadventure: l'avventuraenthusiasm: l'entusiasmothoughtful: riflessivocautious: prudenteguidance: la guidatrees: gli alberiscent: il profumocourage: il coraggiorain: la pioggiatrail: il sentieromud: il fangopath: il camminodetermination: la determinazionestorm: la tempestaroute: il percorsorocky clearing: lo spiazzo rocciosowind: il ventoshelter: il riparotranquility: la tranquillitàlesson: la lezioneflare: il razzo di segnalazionerecklessness: la avventatezzabrave: coraggiosoteam: la squadraadaptable: adattabile

In questo 23 aprile, festa di San Giorgio, il Genoa presenta il ritiro di Moena 2026 assieme ad un'attivazione social che ha riportato la seconda maglia, con la Croce di San Giorgio, per le vie di Londra. Parliamo di questo e di tutte le ultime dal mondo rossoblù in puntata. Buoncalcioatutti!

Nel suo libro Fisionomie di santi, lo scrittore francese Ernest Hello dedica un profilo a San Giorgio, definendolo “uno dei santi più illustri e dimenticati; illustri ieri, dimenticati oggi”. Hello scriveva il suo libro nel 1879; oggi San Giorgio non è solo dimenticato, ma nella Chiesa cattolica, dopo il Concilio Vaticano II, la sua memoria è stata addirittura retrocessa a festa liturgica facoltativa, forse perché san Giorgio è il santo guerriero per eccellenza, antitetico al modello del cattolico pacifista oggi dominante. Questo episodio include contenuti generati dall'IA.

Silvano Costanzo"Le stelle di Big Three"Neos Edizioniwww.neosedizioni.itUn romanzo “fantascientifico” ambientato tra Amsterdam, Parigi, Torino, Malta e lo spazio: forse l'unica speranza per l'umanità orbita intorno alla Terra? Cosa accomuna il disegnatore olandese Pieter Böhm con il Santo, con il Professore e con il Mago? Tutto ha inizio con un logo commerciale disegnato su una T-shirt, un disegno ispirato a “Big Three”. Una creatura enigmatica e miracolosa, dotata di straordinarie capacità taumaturgiche, che compare fugacemente in vari luoghi della Terra. Un alieno dall'aspetto bizzarro, con tre gambe zoccolate, un carapace sull'addome, due braccia che terminano con delle chele, una coda e una testa retrattile con una dozzina d'occhi. “La prima volta che comparve era un venerdì. Per la precisione, era il terzo venerdì di aprile, giorno della grande fiera di San Giorgio di Nicomedia, l'uccisore di draghi. Da dove fosse spuntato, nessuno fu mai in grado di dirlo”. Grazie al successo straordinario di quel logo, la Big Three Corporation diventa una multinazionale in grado di dominare l'intero pianeta.Pieter Böhm vorrebbe far progredire l'umanità, liberandola da fame e malattie, e per questo realizza le “stelle”, 33 stazioni orbitanti intorno alla Terra, dove forse è possibile creare una nuova società, ma tutti suoi progetti visionari si concludono con disastri e fallimenti.“Le stelle di Big Three” è, apparentemente, un romanzo di fantascienza, in realtà è un racconto visionario e ironico che parla di noi, attraverso un'allegoria della società in cui viviamo, con i suoi orrori, le sue meschinità, le sue intuizioni e le sue speranze. Senza rendersene conto, semplicemente usando le sue mani, dotate del potere di guarire e dare la vita ma anche di toglierla, Pieter Böhm non cambierà il mondo ma finirà per consegnarlo ad “altri”.   Spiega l'Autore: «Le intenzioni di Pieter sono buone. Vorrebbe mettere a frutto l'enorme potere economico di cui dispone per migliorare la qualità della vita degli esseri umani, ma qualcosa va storto. Le persone che si è scelto come collaboratori non pensano-come lui-al bene comune, ma solo al potere personale e al profitto e Pieter è costretto a fuggire e a nascondersi per salvare la sua stessa vita. Cambia varie volte identità e si sposta in vari Paesi. Durante questo suo peregrinare trova rifugio anche a Torino. Qui, per darsi una copertura, rileva una libreria situata all'interno di una galleria ottocentesca, con il tetto di vetri policromi. È una sorta di salotto nel centro della città, che ospita ristoranti, caffè, esposizioni d'arte, sale cinematografiche. Il via vai di visitatori è continuo il che consente a Pieter di incontrare varie persone senza destare sospetti. Operando da quella sua libreria, infatti, Pieter sta cercando di costituire un'organizzazione in grado di contrastare la “cupola” che si è impadronita del pianeta. È un'impresa difficile perché i nuovi signori del mondo controllano tutto ciò che accade dall'alto delle stelle sulle quali vivono, cioè da una costellazione di trentatré satelliti artificiali che ruotano intorno alla Terra. Nonostante le difficoltà, alla fine Pieter sembra riuscire nel suo intento e, dopo che la “cupola” è stata sgominata, si lancia in una nuova avventura con l'obiettivo di creare finalmente un mondo davvero più giusto, in cui la ricchezza sia equamente divisa. Ma anche questa volta non tutto va per il verso giusto». Silvano Costanzo è giornalista, scrittore, artista e fotografo. È nato a Balzola (AL) nel 1948 e vive a Torino. Come giornalista ha lavorato per molti anni a “Stampa Sera” e a “La Stampa”. Storico e romanziere, ha fondato a Torino due gallerie d'arte - centri culturali (Spaziobianco e Officina 500) che, a partire dal 2011, hanno ospitato più di cinquanta mostre di respiro internazionale, convegni, dibattiti, piccoli concerti e spettacoli teatrali. Come artista ha esposto le sue opere (installazioni, dipinti, fotografie) in numerose città. Diventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.IL POSTO DELLE PAROLEascoltare fa pensarehttps://ilpostodelleparole.it/

Read OnlineWhen Mary came to where Jesus was and saw him, she fell at his feet and said to him, “Lord, if you had been here, my brother would not have died.” When Jesus saw her weeping and the Jews who had come with her weeping, he became perturbed and deeply troubled, and said, “Where have you laid him?” They said to him, “Sir, come and see.” And Jesus wept. John 11:32–35Jesus' humanity shines clearly in today's Gospel. In the face of Lazarus' death, Jesus is deeply moved by the grief around Him. The Gospel says He “became deeply distressed and troubled” and eventually “wept.” The Greek word for “deeply distressed,” embrimaomai, suggests a strong emotional disturbance, even indignation or anger. It could be translated as “He snorted in spirit,” indicating an involuntary, visceral response from the depth of His soul. Some commentators suggest Jesus' anger wasn't directed at the people weeping but at the reality of death itself, caused by sin. As God, Jesus knew death was never part of the Father's original plan for humanity. From a divine perspective, He saw death as a consequence of sin. From this point of view, death provoked righteous indignation and deeply troubled His human heart.As the passage continues, Jesus' humanity is powerfully portrayed in the shortest verse in the Bible: “And Jesus wept.” Why did He weep? Saint Paul reminds us in Hebrews: “For we do not have a high priest who is unable to sympathize with our weaknesses, but one who has similarly been tested in every way, yet without sin” (Hebrews 4:15). Jesus' tears show us that the Holy Trinity knows human pain firsthand. The Incarnate Son allowed Himself to experience sorrow, and the Father and the Holy Spirit shared in this sorrow through Him.It's important to note that Jesus' sorrow was different from the weeping of Lazarus' sisters and the others present. Jesus' weeping uses the Greek word edakrysen, which means “to shed tears” or “weep silently.” His tears were personal, controlled, intimate, heartfelt, and full of divine compassion. In contrast, the weeping of the others is described by the Greek word klaió, meaning loud wailing, a typical expression of communal and ritualistic mourning at the time. Jesus' grief was neither ritualistic nor excessive; it was intimate and heartfelt, born from personal sorrow and divine compassion.We must never forget Jesus' deep compassion, empathy, and sorrow. His human heart feels the same emotions we do—He grieves when we grieve, shares in our pain, and is moved by the hold sin has on us. After feeling these emotions at Lazarus' death, Jesus stood outside the tomb and “cried out in a loud voice, ‘Lazarus, come out!'” (John 11:43). We can imagine the passion behind His command. In our lives, when we are tempted in sin or burdened by human weakness, we must hear Jesus calling us to freedom with the same divine authority and human passion. Reflect today on Jesus' humanity and how He perfectly understands everything we experience. His deep empathy for our suffering and His joy when we rise with His grace show us how intimately He knows us. God became one of us in every way, sharing in our human condition—though without sin—so that we might share in His divinity. Ponder His humanity and let His closeness draw you to Him, giving you a share in His divine life. Most compassionate Lord, You experienced human nature in its fullness. Though You never sinned, You allowed Yourself to feel the effects of our sin and suffering, filling them with Your divine compassion. Help me to always remember Your humanity, knowing that through it, I come to share in Your divinity. Jesus, I trust in You.Image - Milan - resurrection of Lazarus from San Giorgio church Source: Free RSS feed from catholic-daily-reflections.com — Copyright © 2026 My Catholic Life! Inc. All rights reserved. This content is provided solely for personal, non-commercial use. Redistribution, republication, or commercial use — including use within apps with advertising —

Fifth Sunday of Lent. Year A - Sunday, March 22, 2026 (EPISODE: 576) Fifth Sunday of Lent. Year A - Sunday, March 22, 2026 (EPISODE: 576) Readings for 5th Sunday of Lent A FIRST READING: Ezekiel 37:12-14 Psalm 130:1-2, 3-4, 5-6, 7-8. "With the Lord, there is mercy and fullness of redemption." SECOND READING: Romans 8:8-11 GOSPEL ACCLAMATION (John 11:25a+26). Glory and Praise to you, Lord Jesus Christ! I am the Resurrection and the life, says the Lord. Whoever believes in me will not die forever. GOSPEL: John 11:1-45 - Raising Lazarus Image Credit- Shutterstock Licensed. Stock Photo ID: 85594159 - Milan - the resurrection of Lazarus from San Giorgio church - Photo Contributor: Renata Sedmakova +++ It's no wonder that the Church believes so powerfully in the reality of the sacraments, in which we can touch, taste, smell, see and hear the power of Christ working through them. Surely it's only divine love that can truly fill us with the fullness of life again and raise us up to life eternal. Drawn near. Embraced. Healed. Forgiven. Included. And always loved. +++++ References: Fr Paul W. Kelly Doyle, D. (2020). This Poem Gives Such A Great Perspective On How Powerful and Yet Tender Our Lord Is! [online] FaithHub. Available at: https://faithhub.net/dan-doyle-lazarus-poem/ [Accessed 7 Feb. 2020]. References: Fr Paul W. Kelly Image Credit- Shutterstock Licensed. Stock Photo ID: 85594159 - Milan - the resurrection of Lazarus from San Giorgio church - Photo Contributor: Renata Sedmakova ++ Archive of homilies and reflections: http://homilycatholic.blogspot.com.au To contact Fr. Paul, please email: paulwkelly68@gmail.com To listen to my weekly homily audio podcast, please click this link here: https://soundcloud.com/user-633212303/tracks Further information relating to the audio productions linked to this Blog: "Faith, Hope and Love - Christian worship and reflection" - Led by Rev Paul Kelly Prayers and chants — Roman Missal, 3rd edition, © 2010, The International Commission on English in the liturgy. (ICEL) Scriptures - New Revised Standard Version: © 1989, and 2009 by the NCC-USA. (National Council of Churches of Christ - USA) "The Psalms" ©1963, 2009, The Grail - Collins publishers. Prayers of the Faithful - " Together we pray" by Robert Borg'. E.J. Dwyer, Publishers, (1993). (Sydney Australia). "Quiet Time." Instrumental Reflection music. Written by Paul W Kelly. 1988, 2007. & This arrangement: Stefan Kelk, 2020. Lenten Hymn: "Have Mercy" inspired by Psalm 50(51). Music by Paul W. Kelly. Arranged and sung, with additional lyrics by Stefan Kelk. 2020. Sound Engineering and editing - P.W. Kelly. Microphones: - Sennheiser MK4 Cardioid Condenser; and Shure Motiv MV5 Digital Condenser. Editing equipment: NCH software - MixPad Multitrack Studio Recording Software NCH – WavePad Audio Editing Software. Masters Edition v 12.44 Sound Processing: iZotope RX 6 Audio Editor [ Production - KER - 2026] May God bless and keep you.

Imaginez une bulle de connectivité 5G capable de suivre un navire de guerre en pleine tempête.Ce n'est plus de la science-fiction, c'est ce que viennent de valider les entreprises Ericsson et Leonardo, deuxième groupe industriel italien, et la marine italienne, en Méditerranée.Le succès de ce test en conditions réelles marque un tournant pour les réseaux critiques.Un réseau 5G Standalone autonome en pleine merD'abord, la prouesse technologique réside dans le déploiement d'un réseau 5G Standalone, totalement autonome en pleine mer.Le système installé sur le navire amphibie San Giorgio est une solution de bout en bout totalement indépendante, assure la marine italienne.Ericsson a utilisé son équipement et des antennes MIMO pour créer une bulle réseau privée. Concrètement, cela signifie que les unités navales ne dépendent plus d'une infrastructure terrestre ou satellitaire vulnérable pour leurs échanges locaux.Le bénéfice est la création d'un réseau tactique projetable, capable d'offrir des débits 5G et une latence quasi nulle sur un théâtre d'opérations mobile. De quoi changer radicalement la donne pour la coordination des flottes modernes.Traiter des volumes de données colossaux en temps réel et de manière sécuriséeEnsuite, l'enjeu majeur de cette expérimentation était la capacité à traiter des volumes de données colossaux en temps réel et de manière sécurisée.De manière sécurisée car la solution de chiffrement de Leonardo permet aux navires d'échanger des informations classifiées sans risque d'interception.Concrètement, le réseau a supporté les flux vidéo provenant de douze drones aériens et maritimes, dont les données ont été traitées instantanément par une plateforme d'intelligence artificielle.Cette convergence entre 5G et IA permet à chaque officier sur le pont de voir ce que voient les drones en haute définition, sans décalage.La 5G n'est plus seulement une technologie civileEnfin, ce test valide, selon Ericsonn, la supériorité de la 5G sur les systèmes traditionnels radios qui présentent des risques d'interférences ou de saturation.Pour les militaires, c'est peut être la preuve que la 5G n'est plus seulement une technologie civile.Le ZD Tech est sur toutes les plateformes de podcast ! Abonnez-vous !Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Prova Shopify ad 1 € - Vai su ⁠shopify.it La guerra italo-turca, la Grande Guerra, il conflitto civile in Spagna, la Seconda Guerra Mondiale: quanti conflitti ha vissuto il regio incrociatore "San Giorgio"? Protagonista diretto o indiretto di quasi mezzo secolo di storia, la vita operativa dell'ultima nave appartenente a una tipologia superata passa attravero eventi bellici e fattori umani. Come il suo ultimo comandante, il capitano di fregata Stefano Pugliese, e gli uomini al suo comando. Sino all'estremo sacrificio, alla maledizione, all'oblio, alla gelida tomba nelle acque del Mediterraneo molti anni dopo la fine della guerra.

Antonio Settembre"La toga spezzata"Viaggio nel Processo Penale e nella Riforma che cambia la Magistratura.Distribuzione: www.amazon.itUn viaggio chiaro e coinvolgente dentro i meccanismi del processo penale, per orientarsi tra regole, ruoli e recenti riforme. Scopri cosa cambia con la riforma della separazione dellecarriere e perché riguarda da vicino anche te.Durante la sua carriera, l'autore ha trattato – come relatore ed estensore della sentenza – numerosi processi importanti, tra cui la strage dei Georgofili a Firenze, del 1993, e tutte quellecollegate di via Palestro a Milano, di via Fauro a Roma, di San Giovanni in Laterano e di San Giorgio al Velabro, anch'esse commesse a Roma, oltre, ovviamente, a numerosissime altrevicende giudiziarie, soprattutto in materia fallimentare. Oggi ci racconta, attraverso la sua esperienza professionale, la complessa macchina della giurisdizione italiana, civile e penale, per arrivare a sviscerare il processo penale e comprendere i punti più cruciali del Referendum di giustizia del 22 e 23 marzo 2026."Il processo penale italiano è una delle costruzioni giuridiche più sconosciute al cittadino medio. Sebbene la sua rilevanza sociale e il suo impatto sulla vita delle persone siano estremamente significativi, la conoscenza dei meccanismi che presiedono al funzionamento del processo risulta appannaggio di pochi; in pratica, dei soli operatori giuridici - magistrati e avvocati penalisti - impegnati nella gestione dei processi.L'ambizione di questo scritto è, innanzitutto, quella di fornire, ai non addetti ai lavori, nella maniera più semplice e obbiettiva possibile, le cognizioni minime atte a comprendere qual è la struttura del procedimento penale, come nasce e come evolve e quali sono i soggetti che si muovono nell'ambito dello stesso. Ciò verrà fatto con l'utilizzo di un linguaggio non tecnico, o minimamente tecnico, per estendere al massimo la platea dei possibili fruitori di questo scritto.Non è dubitabile che la conoscenza del sistema giudiziario (riferita, quantomeno, al sistema penale) non solo aiuterà a comprendere l'evoluzione di moltissime vicende giudiziarie dell'attualità, ma può contribuire alla formazione di un giudizio più consapevole sulle infinite questioni che agitano il mondo della giustizia, squassato, come pochi altri, dalle polemiche e dalla disinformazione."Antonio Settembre nasce a Salerno nel 1955. Ha iniziato a lavorare in magistratura come pretore a Cagliari nel 1986. Successivamente, da 1991 al 1996, ha lavorato come sostitutoprocuratore a Lucca, poi giudice a Firenze dal 1996 al 2012. Fino al 2021 è stato consigliere della Corte suprema di cassazione e fino alla pensione nel 2025, Presidente di sezione della Corte d'appello di Firenze.Diventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.IL POSTO DELLE PAROLEascoltare fa pensarehttps://ilpostodelleparole.it/

Gli LLM ci porteranno verso una economia pianificata? Co-parenting platonico. Beccato a rubare dalle telecamere del parroco.. OnePlus introduce un meccanismo anti-rollback. Tech bro e sogno americano. Queste e molte altre le notizie tech commentate nella puntata di questa settimana.Dallo studio distribuito di digitalia:Franco Solerio, Michele Di Maio, Giulio CupiniProduttori esecutivi:Eugenio Nappi, Ligea Technology Di D'esposito Antonio, Jh4Ckal@Fountain.Fm, Giulio Magnifico, Marco Goglio, Paolo Bernardini, Antonio Manna, Fiorenzo Pilla, Luca Di Stefano, Filippo Brancaleoni, Fabrizio Mele, Antonio Gargiulo, Matteo Tarabini, Paola Danieli, Paola Bellini, Davide Bellia, Douglas Whiting, Mattia Lanzoni, Akagrinta@Fountain.Fm, Fabio Zappa, Sandro Acinapura, Andrea Bottaro, Alessandro Lago, Giuseppe Brusadelli, Joanpiretz@Fountain.Fm, Gianfranco Di Summa, Fabio Filisetti, Isacco Tacchella, Valerio Bendotti, Piero Alberto Mazzo, Arzigogolo, Natan Serena, Manuel Zavatta, Simone Magnaschi, Gabriele Gambini, Roberto Basile, Fabio Guardigli, Davide Tinti, Alessandro Blasi, Mattia Vailati, Giuliano Arcinotti, Silvano Carradori, Christian Schwarz, Massimo Pollastri, Enrico De Anna, Fabrizio GallivertiSponsor:Squarespace.com - utilizzate il codice coupon "DIGITALIA" per avere il 10% di sconto sul costo del primo acquisto.Links:Will Google Become Our AI-Powered Central Planner?Google now prioritising Youtube and X over publishersGoogle confirms 'high-friction' sideloading flowOneplus hardware anti-rollbackICE Using Palantir Tool That Feeds On Medicaid DataLadro incastrato dalle telecamere del parrocoOpenAI's 2026 ‘focus' is ‘practical adoption'Anthropic opens up its Claude Cowork featureDOOMBUDS - Doom sugli earbudsIn Search of a Platonic Co-Parent OnlineSETI@homeOverrun with AI slop cURL scraps bug bountiesGoogle wont stop replacing our news headlines with terrible AIWest Midlands copper chief cops it after Copilot copped outIA e ingegneria sociale: come hanno bucato Andrea Galeazzi#lafinedeglihashtagTikTok broke in its first weekend with US ownershipLa nuova tassa sui pacchi danneggia l'Italia, più che la CinaWhy the Tech World Thinks the American Dream Is DyingLa Silicon Valley vuole accumulare soldi finché si puòTech Bro 2.0 Wrapped: The final report on the new breed of broBillionaire CEOs Party With Trump and Melania After His Goons Kill NurseGingilli del giorno:Bitchat.land - un client Bitchat per browserBugs Apple Loves - i bug più longevi di AppleImpulse - Giochi MentaliSupporta Digitalia, diventa produttore esecutivo.

Intervista di TelePace, effettuata a San Giovanni Crisostomo venerdì 5 dicembre 2025, di presentazione dell'Istituto Magnificat di Gerusalemme e dell'impegno della Compagnia di San Giorgio in Terra Santa.L'intervistatore è Don Massimo Tellan (1) (2), nuovo socio effettivo della Compagnia che si intrattiene con il Presidente della medesima, Angelopiero Bafundi. ---Un coro di ragazze musulmane, cristiane ed ebree che canta insieme mentre la guerra continua a ferire la Terra Santa: è il Coro Yasmeen dell'Istituto Magnificat di Gerusalemme, ospite a Roma per una serie di concerti natalizi promossi dalla Compagnia di San Giorgio, la quale da molti anni coltiva un proficuo rapporto con la Custodia di Terra Santa ed i gruppi scout locali.Attraverso la musica, queste giovani testimoniano che anche nel tempo del conflitto è possibile costruire dialogo, convivenza, speranza e pace.

TESTO DELL'ARTICOLO ➜ https://www.bastabugie.it/8366IL SACERDOTE UCCISO PER AVER CORRETTO UN PROFESSORE NAZISTA CHE IRRIDEVA CRISTO di Federica Di Vito Sono molte le storie di sacerdoti giustiziati dai nazisti, tra queste oggi riportiamo quella - forse poco nota - di Heinrich Dalla Rosa, ghigliottinato all'età di 36 anni a Vienna nel gennaio 1945. Quale la sua colpa? Dire ciò che pensava difendendo la Chiesa e Cristo.Heinrich Dalla Rosa prima di essere sacerdote abitava a Lana, nato da papà trentino e mamma meranese. Quando i suoi emigrarono in una zona rurale dell'Austria decise di intraprendere il percorso del sacerdozio. In seguito studiò a Vienna in un istituto della congregazione Regina degli Apostoli, fondata in quella città nel 1923 ispirato dal gesuita Antonio Maria Bodewig. Il primo superiore generale di questa congregazione, Theodor Innitzer, sarebbe stato cardinale arcivescovo di Vienna e primato d'Austria quando Hitler annesse il Paese nel 1938. Il giovane Heinrich si laureò con ottimi voti nel 1930. Ha poi studiato al seminario di Graz (Austria) fino al 1935, anno in cui è stato ordinato a 26 anni. Nel 1939, con l'Austria già completamente controllata dai nazisti, fu nominato parroco di Sankt Georgen im Schwarzwald, un piccolo villaggio di 300 abitanti a 1000 m di altezza.Sono gli anni della guerra e dei nazisti e anche solo dire che mettere insieme Vangelo e propaganda, o Gesù con Hitler, era impossibile, diveniva un crimine. La decisione di ghigliottinarlo venne presa a Pasqua del 1941 quando gli eserciti nazisti celebravano l'occupazione di Salonicco e niente sembrava fermarli. Fu allora che padre Heinrich sorprese tutti affermando di non essere sicuro che la Germania avrebbe vinto la guerra. A denunciarlo al partito fu nello specifico Hladnig, un maestro di musica poi divenuto preside. Così, messo in atto un sistema di controllo del prete che aveva parlato troppo sia a scuola che in chiesa, arrivò l'arresto, la prigionia nel carcere di Leoben, le torture e la condanna.Hladling era una figura controversa: aveva iniziato una carriera ecclesiastica da giovane, ma era stato in seguito attratto dal nazionalismo austriaco. Aveva iniziato a covare odio contro la Chiesa e lo avevano messo a insegnare religione. All'inizio manteneva la preghiera con i bambini in classe, ma la sospese quando il regime proibì di pregare nelle scuole. Alla fine di dicembre 1943, Hladnig, intriso di ideologia anticristiana, arrivò a proclamarla apertamente ai bambini durante la lezione di religione. Prese a farlo anche con gli adulti: tenne una conferenza sull'esercito tedesco a un gruppo di insegnanti e colse l'occasione per criticare duramente Cristo e il cristianesimo.IL CANTO E LA MUSICAAnche se temporalmente pochi, i dieci anni da sacerdote padre Heinrich li visse con energia e passione, lavorando molto con bambini e giovani. Trovava una connessione con i giovani attraverso il canto e la musica, incoraggiandoli a partecipare in chiesa. Amava la montagna e spesso organizzava escursioni, anche difficili, che portavano su percorsi complicati a paesaggi mozzafiato. Non sopportava la continua e costante provocazione delle camicie naziste e il loro vagabondaggio per i villaggi con l'obiettivo di controllare tutto. Temeva che facessero il lavaggio del cervello ai suoi parrocchiani, specialmente ai bambini.Il sacerdote cantava canzoni d'amore e di pace con i bambini e dava loro lezioni di musica. Nella sacrestia insegnava che la religione di Cristo richiede di amare gli altri, prendersi cura dei deboli e dei bisognosi. Il Vangelo era il suo libro di riferimento, la sua lettura di ogni sera prima di andare a letto e lo contrastava con le falsità ideologiche del sistema nazista, che esaltava la forza e il disprezzo per i deboli. Va tenuto presente infatti che da un certo punto in poi, il regime nazista proibì agli insegnanti della materia di religione nelle scuole di essere sacerdoti. La materia è stata mantenuta, ma a carico di insegnanti che compiacevano il Partito. Da parte loro, i bambini continuavano ad andare nelle parrocchie per la catechesi. Spesso, lì i preti dicevano loro una cosa, e a scuola, i funzionari ideologizzati dicevano loro il contrario.All'inizio della sua prigionia, il sacerdote scrisse ai suoi genitori con ottimismo considerando che tutto si basava su una questione irrilevante: «Una situazione del genere può essere molto utile per un pastore nella sua esperienza di vita. Nella cella siamo in 17 e questa è una piccola comunità dove posso continuare a svolgere i miei servizi di sacerdote». Con il passare dei giorni, meditò sul suo amore per la Chiesa, che stava crescendo: «Qui c'è un desiderio ancora più profondo di Chiesa, un'istituzione necessaria, un polo che bilancia i tempi che cambiano. Naturalmente dovrà riformarsi e adattarsi ancora molto e capire che le affermazioni teoriche non convincono le persone. Solo la partecipazione alla vita, l'ancoraggio alla terra e l'Incarnazione, creano un contatto immediato con le persone alla ricerca di questa ancora di salvezza».LA CONDANNA A MORTEIn prigione, con la condanna a morte, scriveva ai genitori mettendosi nelle mani di Dio: «Sono orgoglioso di correre la stessa sorte di Cristo. So di essere pieno della più santa gioia. Come sacerdote, sono stato disprezzato e condannato. Niente di mondano o terreno opprime la mia mente. Sono felice di essere stato segnato come testimone di Cristo. Mi renderebbe felice dentro di me sapere che voi siete in grado di pensare all'eternità tanto quanto la penso e la immagino io». Anche tre giorni prima dell'esecuzione il cardinale Innitzer di Vienna stava cercando di chiedere la revisione del processo o un rinvio, ma senza successo. Il giorno della sua esecuzione, il 24 gennaio 1945, Heinrich scrisse a sua sorella Elizabeth: «Mi è stato detto che non avrei dovuto lasciare che tutto accadesse con tanta calma. Penso che sia anche la provvidenza di Dio. Sono totalmente soggetto all'incomprensibilità di Dio, o meglio, sono totalmente soggetto alla sua guida più misericordiosa». Dalla cella disse ai suoi compagni: «Salutate le mie montagne!» e prima che la lama cadesse, proclamò ancora ad alta voce: «Viva il vero Re, viva Cristo!». Un modo per rivendicare Cristo di fronte al falso “Reich” del nazismo.Dopo la liberazione dell'Austria, un becchino aiutò a localizzare il corpo che, su richiesta della madre e del defunto, fu sepolto nel 1946 nella sua parrocchia di San Giorgio. Dal 1986, una targa commemorativa nella chiesa di San Pietro a Lana (Alto Adige) ricorda Heinrich Dalla Rosa. Nel 2010 è stata posta una lapide nell'atrio del Seminario di Graz (Austria) per ricordare i sacerdoti perseguitati e giustiziati dai nazisti. Il vescovo di Graz, Egon Kapellari, ha detto in quell'occasione a proposito dei martiri: «Non vogliamo né dobbiamo dimenticarli, ma anche la società civile dovrebbe assumersi la responsabilità della loro memoria perché hanno vissuto e sono morti per difendere valori che sono parte fondamentale di ogni società democratica: l'onestà e il coraggio».

Questa mattina al termine della Liturgia Divina, presieduta dal Patriarca Bartolomeo I, nella Chiesa Patriarcale di San Giorgio, a Istanbul, Papa Leone XIV ha citato le sfide che le due Chiese devono affrontare, anche in merito all'uso delle nuove tecnologie, specialmente nel campo della comunicazione e ha parlato poi della minacciosa crisi ecologica.

Piero San Giorgio is one of Switzerland's best selling authors. After 20 years as an executive in the software business, Piero decided to write essays about the future. His first book Survive —The Economic Collapse was in the top-50 best selling books of 2012 in France and has sold over 200,000 copies, with translations into English, Italian, Russian, Arabic, Romanian, Polish, Turkish etc. and has a foreword by JHKunstler. His other books are , CBRN (How to Survive Nuclear, Radiological, Biological,and Chemical events), and Giuseppe: A Survival Story, a biographical novel about his grandfather's ordeals in WW2.  The KunstlerCast theme music is the beautiful Two Rivers Waltz written and performed by Larry Unger

Lo scorso 12 Ottobre la Compagnia di San Giorgio ha organizzato un evento sulla situazione in Terra Santa, presso la Basilica romana di Santa Croce in Gerusalemme, che si è articolato su tre linee:dentro il conflitto: le ragioni tradite, le speranze negate;custodi della speranza, operatori di pace;chiamati a gesti di fraternità concreta.Sono intervenuti, oltre a Mons. Antonio Panfili, il Presidente della CSG Angelopiero Bafundi, Fratel Simone Castaldi Commissario di Terra Santa per il Lazio ed Andrea Panella Capo Gruppo del Roma 68 FSE-Scout d'Europa.Buon ascolto di questo "estratto" dell'evento.

...in compagnia di Irene e Mattia, scolta e rover nel Clan/Fuoco "Il Faro", del Gruppo Scout Agesci San Donato 1 (MI)Insieme ci siamo fatti una bella chiaccherata, riprendendo il filo del discorso fatto sul "capitolo carcere" dell'anno scorso per arrivare al "capitolo dipendenze" di quest'anno (in particolare le tossicodipendenze).Infine ecco l'esperienza della Route ad Petri Sedem (RAPS), che li ha visti camminare verso Roma per il Giubileo, Pellegrini di Speranza, accolti ed accompagnati dalla Compagnia di San Giorgio.Buon ascolto!

Nel Regno Unito un weekend di forti proteste nazionaliste guidate da Tommy Robinson, mentre sventola la "bandiera di San Giorgio" in chiave anti-immigrazione. In Italia gli under 35 sono sempre più "poli-lavoratori" per scelta o necessità. Armani potrebbe infine cedere alle avances di LVMH e "diventare francese". Prova Revolut Business per 6 mesi a canone zero. Scopri di più cliccando su questo link: ⁠choramedia.com/revolut⁠ Firma la proposta di legge di iniziativa popolare per riequilibrare la rappresentanza tra generazioni ed età nelle istituzioni politiche: ⁠https://shor.by/3nTj⁠ Dal 26 al 28 settembre a Torino Chora&Will Days, il primo festival di Chora e Will: scopri il programma e come partecipare su ⁠days.chorawill.com⁠ Firma la proposta di legge di iniziativa popolare per chiedere una legge sul voto fuorisede: ⁠https://shor.by/GcvZ⁠ Questo podcast e gli altri nostri contenuti sono gratuiti anche grazie a chi ci sostiene con Will Makers. Sostienici e accedi a contenuti esclusivi su ⁠willmedia.it/abbonati 0:00 Intro 0:34 Il Regno Unito che dice no all'immigrazione 4:38 Gli under 35 fanno più lavori 6:48 Il futuro di Armani Learn more about your ad choices. Visit megaphone.fm/adchoices

Il folklore italiano nasconde storie oscure, misteri e maledizioni che ancora oggi fanno venire i brividi. Dopo il successo della prima puntata, ecco il secondo capitolo dedicato alle leggende più terrificanti del nostro Paese. In questo episodio del Podcast L'Inspiegabile scopriremo: ⚡ Colobraro, il borgo maledetto della Basilicata

Vor Millionen Jahren war der Monte San Giorgio ein tropisches Meer – heute ist er eine der bedeutendsten Fossillagerstätten der Welt. In der zweiten Folge der Tessin-Reihe erkundet Miriam Menz diese geologische Schatzkammer: vom winzigen Insektenfund bis zum spektakulären, vollständig erhaltenen Saurierskelett.Geologe Daniele Albisetti öffnet die Türen des Fossilienmuseums Meride und nimmt uns mit in die Welt der Paläontologie. Danach führt der Weg zur Ca'Stella Farm – ein Ort, an dem Geschichte, Natur und soziales Engagement zusammenkommen. Hier leben Alpakas, Hühner und Lamas, Kinder und Jugendliche packen im Garten oder in der Küche mit an, und es gibt tiergestützte Therapien.Zum Abschluss geht es mit Archäologin Ilaria Verga ins mittelalterliche Tremona, wo freigelegte Mauern und Gassen das Leben vergangener Jahrhunderte wieder greifbar machen – bevor der Tag in einem typischen Tessiner Grotto endet, mit Käse, Wein und kühler Bergluft aus dem Naturkeller.----------------------------------WerbungVielen Dank an Schweiz Tourismus und Tessin Tourismus für die Unterstützung bei der Umsetzung dieser Folge!Mehr Infos auf: ticino.ch ----------------------------------Über das Format “SchweizWeit”: Wie fühlt es sich an, auf einem Gletscher im Wallis zu stehen? Wie sehen die Berner Alpen von oben aus? Warum hat Luzern einen besonderen Bezug zur Musik? Wie schmeckt die vegetarische Küche in Zürich? Und welche Fossilien lassen sich im Tessin entdecken?In unserem Format „SchweizWeit – Geschichten und Klänge aus der Schweiz“ sind Erik Lorenz, Lydia Möcklinghoff, Janna Olson und Miriam Menz von “Weltwach” in der Schweiz unterwegs, um die Vielfalt dieses Landes hörbar und erlebbar zu machen. Mit Aufnahmen von vor Ort lassen sie euch eintauchen in ein Land, in dem Natur, Städte, jahrhundertealte Traditionen und moderne Ideen aufeinandertreffen. Sie begegnen Menschen, die ihre Heimat prägen, steigen auf Gipfel, wandern durch Wälder, paddeln auf klaren Seen, probieren sich durch die Schweizer Küche und nehmen euch mit in das Leben zwischen den schier endlosen Bergen und lebendigen Städten.Immer mit dabei: das Mikrofon, mit dem sie Geschichten und Klänge einfangen – vom Rauschen eines Gletscherflusses und Gesang der Vögel im Wald bis zur Käseproduktion auf einer Alm! So erkunden sie Region für Region dieses vielfältige Land. “SchweizWeit” erscheint mittwochs im Weltwach-Feed, rotierend mit den anderen Mittwochs-Formaten “Reiseflops” und “Weltwach Extrem”.Weitere Inspirationen für eure Reise in die Schweiz findet ihr auf der Website von Schweiz Tourismus. Hosted on Acast. See acast.com/privacy for more information.

®E se Bernhard Péyer negli anni Venti non si fosse fermato a Meride a cercare fossili anche sul versante svizzero del Monte San Giorgio? Chissà come sarebbe andata la storia di questa montagna che è oggi uno dei più importanti giacimenti fossiliferi al mondo: cento anni di scavi (sulla parte svizzera) hanno riportato alla luce una quantità di fossili noti per la loro varietà e per l'eccezionale stato di conservazione che documentano la vita marina nel Triassico medio. Mentre le campagne di scavo continuano sul monte San Giorgio – dal 2003 iscritto anche nel patrimonio Unesco - il museo dei fossili di Meride si è esteso sul territorio con una serie di percorsi didattici e interattivi, l'ultimo inaugurato il 7 giugno. Al museo invece i visitatori lasciano gli zaini per inforcare caschi o visori speciali per rivivere un mondo preistorico. Prima emissione: 23 giugno 2025

Angelopiero Bafundi, Presidente della Compagnia di San Giorgio, è intervenuto lo scorso 7 Giugno presso la sede dell'associazione "Un'altra città" (Formia - LT) per dare parole alle "Voci della Terrasanta".La Compagnia di San Giorgio infatti ha un "carisma particolare" che è proprio quelle delle relazioni con e delle iniziative per i territori, le confessioni religiose e le persone che abitano la Terrasanta: collegamento.Buon ascolto! 

PRESS REVIEW – Friday, June 27: Donald Trump's health secretary and vaccine sceptic Robert F. Kennedy Jr moves to rescind recommendations for the flu vaccine over a longstanding anti-vaxxer belief that it causes autism. The US will also pull funding for a global alliance that provides free jabs to impoverished populations. Meanwhile: Libération looks at the instrumentalisation of famine in the war in Gaza. Finally, Jeff Bezos' opulent three-day wedding kicks off in Venice. An advisory panel for US Health Secretary Robert F. Kennedy Jr has voted to rescind recommendations for the flu vaccine, The New York Times reports. Kennedy recently fired 17 experts on the advisory panel, replacing them with eight anti-vaxxers. On Thursday the panel voted to walk back vaccine recommendations for the common flu. The reason? A common (and false) argument of anti-vaxxers: that thimerosol, an ingredient in the flu vaccine is linked to autism. The Times says the decision signals a "powerful shift" in the way federal officials approach vaccines. It also delivers the first blows to a scientific process that has provided effective and tested vaccines to Americans for decades.  It's important to note, as the Australian academic website The Conversation explains, that the preservative thimerosol is mercury-based and used in some drug products because it prevents contamination by killing microbes. However, it is hardly ever used in flu vaccines today. The website explains that the argument that vaccines cause autism first surfaced in 1998 when a now-discredited report in the medical journal The Lancet was published, claiming that several children developed autism following the flu vaccine.  The Financial Times reports that the Trump administration will also stop funding for GAVI, the global vaccine group that provide free shots for meningitis, malaria and other disease prevention to people in poor countries. Kennedy says the alliance has ignored science and failed to justify billions of dollars the US gives in funding. The US being the alliance's top donor, this decision will sharply dent GAVI's efforts to raise over $9 billion for vaccination campaigns dedicated to a half a billion children in the next five years. The Washington Post's editors, meanwhile, profile Susan Monarez, a respected scientist who is acting director of the Centers for Disease Control and Prevention and who could be on track to hold the position permanently. She had a confirmation hearing this week with US senators and impressed with her ability to avoid contradicting Kennedy's decision and avoid endorsing it at the same time. The Post's editors say that if confirmed, she could be a real impediment to those seeking to upend vaccine policies that have saved countless lives. French newspaper Libération looks at the famine in Gaza on its front page and asks the question: Is famine being used as a weapon of war by Israel in Gaza? The paper investigates the chaotic distribution of humanitarian aid in the Strip. Liberation explains that the system of aid is built around the Gaza Humanitarian Foundation (GHF), an American NGO and the only organisation allowed to distribute aid. Traditional NGOs are refusing to work with the GHF, telling Libération they believe it has militarised humanitarian aid and facilitated the chaos. Over 500 people have been killed since the GHF set up its aid distribution points. Libération also accuses the Israeli army of setting up aid mainly in the south of the enclave, cutting off aid to the rest of the population – a form of ethnic cleansing, it says. Finally, the controversial nuptials of Amazon founder Jeff Bezos are underway in Venice this weekend. His opulent three-day wedding celebration has drawn support from Venetian business owners who are happy to cater to the hordes of rappers, celebrities and tech billionaires descending on the Italian city. Nonetheless, it's sparked widespread protests from locals and activists fed up with the added strain it will put on a region that's already suffering from overtourism. Il Giorno, the Italian paper, looks at the controversial wedding of "Mister Amazon" and Lauren Sanchez. In many ways, The New York Times says, San Giorgio, where emperors once met with popes, is fit to host the patron of Amazon.com. Protesters say it's not about the wedding but what it represents: the Americanisation of an inherently European city, and a tech billionaire who's cosied up to US President Donald Trump. You can catch our press review every morning on France 24 at 7:20am and 9:20am (Paris time), from Monday to Friday.

Puntata bimestrale che propone itinerari nelle grandi città d'arte, alla scoperta di mostre da poco inaugurate. A Bergamo c'è il grande ritorno di Maurizio Cattelan con "Season", una mostra diffusa in più spazi della città, inserita nella Biennale delle Orobie 2025. A Roma è invece visitabile il progetto diffuso di Adrian Paci "No Man is an Island", tra lo spazio "Conciliazione 5" e le strabilianti Corsie Sistine. Infine, a Venezia, sull'isola di San Giorgio all'interno della basilica Palladiana, è in corso un'operazione firmata da Luc Tuymans. Inoltre, consigli di letture e altro ancora.See omnystudio.com/listener for privacy information.

E se Bernhard Péyer negli anni Venti non si fosse fermato a Meride a cercare fossili anche sul versante svizzero del Monte San Giorgio? Chissà come sarebbe andata la storia di questa montagna che è oggi uno dei più importanti giacimenti fossiliferi al mondo: cento anni di scavi (sulla parte svizzera) hanno riportato alla luce una quantità di fossili noti per la loro varietà e per l'eccezionale stato di conservazione che documentano la vita marina nel Triassico medio. Mentre le campagne di scavo continuano sul monte San Giorgio – dal 2003 iscritto anche nel patrimonio Unesco - il museo dei fossili di Meride si è esteso sul territorio con una serie di percorsi didattici e interattivi, l'ultimo inaugurato il 7 giugno. Al museo invece i visitatori lasciano gli zaini per inforcare caschi o visori speciali per rivivere un mondo preistorico.

L'Associazione degli scout cattolici palestinesi di San Giovanni Battista vede in questi giorni a Roma, presso la Parrocchia di Sant'Ippolito, la viva presenza di una trentina di ragazzi e ragazze capi scout provenienti dalla parroccha cattolica di Zababdeh, in Cisgiordania (West Bank).I capi scout, ospitati dalle famiglie della Parrocchia di Sant'Ippolito e seguiti in questa loro permanenza a Roma dal gruppo scout Agesci Roma 62 e dalla Compagnia di San Giorgio, vivranno domani con gli adulti scout della Compagnia la loro Route Ad Petri Sedem (RAPS) e cioè il loro pellegrinaggio giubilare.Stamattina Andrea Colucci, vicepresidente della Compagnia di San Giorgio, è stato intervistato nel corso del programma Radio Vaticana con Voi (dal minuto 1h 20' 54'') ed ha potuto spiegare il senso della RAPS e, in particolare, della presenza dei capi scout cattolici palestinesi.Buon ascolto! e buona lettura di questo interessante articolo di AGENSIR

Intrattenimento e informazione, musica e cultura: tutto questo è Radio Vaticana con Voi! Anche oggi 4 ore insieme per iniziare la giornata con numerosi ospiti! Protagonisti gli ascoltatori, come ogni giorno! Intervieni in diretta tramite WhatsApp al numero 335 1243 722 Gli ospiti di oggi in ordine di presenza: Andrea Colucci, vicepresidente della compagnia di San Giorgio; Veronica De Angelis, fondatrice di Yourban2030; Suor Oleksia Pohrsnychna, membro della congregazione di San Giuseppe; Carlotta Cambi, vicecapitano della nazionale italiana femminile di volley, oro a Paris 2024; Giovanbattista Venditti, team manager della nazionale italiana maschile di rugby; Nicola Gini, volontario dell'iniziativa Frontiere di Pace della Diocesi di Como; Andrea Bizzozero professore presso la Facoltà di Filosofia della Pontificia Università Antonianum. Conducono Andrea De Angelis e Silvia Giovanrosa A cura di Andrea De Angelis e Silvia Giovanrosa Hanno collaborato le colleghe ed i colleghi Marco Guerra, Xavier Sartre, Isabella de Carvalho, Marina Tomarro, Gianmarco Murroni, Fabio Colagrande, Amedeo Lomonaco, Rosario Tronnolone Tecnici del suono Bruno Orti e Gustavo Messina

Il funerale si terrà domani mattina alle 10.30 nella chiesa del paese di residenza del 27enne morto nella notte tra lunedì e martedì al San Bortolo. Da sabato si trovava ricoverato nel reparto di rianimazione, in condizioni critiche dopo l'uscita di strada avvenuta alle 17.50 di quel giorno tra le colline breganzesi, a San Giorgio di Perlena. Lascia la madre e tre fratelli

Andrea Minuti"Il cuore della montagna"In cammino nelle ApuaneKellermann EditorePrefazione di Paolo CiampiDisegni di Maria Efisia Schirruwww.kellermanneditore.itDisponibile in anteprima al Salone del libro di Torino, presentazione con l'autore domenica 18 maggio, ore 19, stand Regione Toscana (pad. Oval)  Un viandante in cammino nelle Apuane, in Garfagnana, racconta i luoghi che attraversa: i boschi che da sempre nutrono e riparano, i borghi quasi del tutto abbandonati, cave, rupi, un antico eremo... e qui si imbatte in un'antica storia. Nella notte tra il 6 e il 7 gennaio del 1598, un violento terremoto scuote il monastero di San Giorgio; al diradarsi della polvere, una nuova, oscura montagna si erge inattesa. Un giovane monaco, abile disegnatore, viene incaricato di scendere a valle per ritrarre questa misteriosa apparizione, nella speranza di comprenderne la natura. A partire da questa novella suggestiva, l'autore offre una profonda riflessione sulla bellezza del cammino, ma anche sulla fragilità ambientale e sociale delle aree interne. Emergono temi cruciali come l'abbandono, il rischio sismico, le conseguenze dello sfruttamento delle risorse naturali, invitando il lettore a meditare sul delicato equilibrio tra uomo e montagna, tra passato e presente. La montagna nera, sorta improvvisamente dalle viscere della terra, diviene così una potente metafora delle vulnerabilità che minacciano questi territori. ndrea MinutiPisano, classe 1989, si laurea in Teatro allo IUAV di Venezia, specializzandosi in Etnologia e antropologia sociale all'EHESS di Parigi. Scrive racconti e novelle che affrontano diverse tematiche: le tradizioni popolari, il rapporto tra l'uomo e l'ambiente, l'ecologia, la montagna, utilizzando uno sguardo antropologico. Vive a Parigi.IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itùDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.

E' ancora in pericolo di vita in rianimazione all'ospedale di Vicenza, il motociclista 27enne di Cartigliano uscito di strada sabato pomeriggio con la sua Honda lungo la strada provinciale che da San Giorgio di Perlena porta a Fara. Si era schiantato contro il guardrial.

Con l'aiuto di Dio, Prometto ...Ad 80 anni dalla LIBERAZIONE di Roma e dell'Italia, lo scorso 24 Aprile abbiamo pronunciato ancora la nostra Promessa, ispirati dall'esempio di San Giorgio.Ascoltiamo di seguito l'intervento di Ivan Yahora (scout ucraino di Plast), le parole degli Adulti Scout del Masci Lazio Vincenzo Saccà e Mario Canuzzi (Segretario Regionale) e l'omelia del Cardinale Gianfranco Ravasi.Dalla Chiesa di San Giorgio in Velabro, simbolo della "Giungla Silente" romana, Buona Strada a tutti!

In dieser Folge entführen wir dich in die bezaubernde Stadt Mantova, einen wahren Geheimtipp im Norden Italiens, der mit seiner reichen Geschichte und kulinarischen Vielfalt begeistert. Stell dir vor, wie du über eine malerische Brücke fährst, das beeindruckende Castello di San Giorgio in der Ferne erblickst und schließlich unter den majestätischen Arkaden des Palazzo Ducale stehst – ein Ort, an dem Gotik, Romanik und Barock aufeinandertreffen und die Geschichten von Adelsfamilien und Künstlern lebendig werden. Gemeinsam schlendern wir durch die lebhaften Gassen, vorbei an prächtigen Kuppeln und kunstvollen Fresken des Doms, während wir in die spannende Geschichte der Familie Gonzaga eintauchen, die Mantova zu einer Perle der Renaissance gemacht hat. Du wirst den Charme des Piazza Sordello spüren, wo sich geschäftige Cafés und Boutiquen mit historischem Flair vermischen, und vielleicht kannst du schon die Eleganz des Teatro Bibiena erahnen, in dem einst Mozart musizierte. Doch Mantova ist nicht nur eine Stadt für Geschichts- und Kulturbegeisterte – sie ist ein Paradies für Genießer. Lass dich von uns inspirieren, die regionalen Köstlichkeiten zu probieren, einen Aperitivo in der goldenen Abendsonne zu genießen und die berühmten Weine dieser Region zu entdecken. Mantova ist eine Stadt, die dich mit ihrer Atmosphäre und ihrem unaufdringlichen Zauber umhüllt und immer wieder zurückrufen wird. Hör rein und lass dich verführen, deine nächste Reise zu planen – vielleicht wird Mantova auch dein neues Lieblingsziel. Und vergiss nicht, den Podcast zu abonnieren, damit du kein weiteres Abenteuer verpasst! ************************************************ Abonniere jetzt den Podcast bei Spotifyund verpasse keine Folge mehr! Mehr findest du auch auf den Social-Media-Kanälen Facebook Youtube Instagram Feinschmeckertouren ************************************************

https://weekly52.de/weekly/399 Heute geht‘s mit Frank Fischer nach Venedig. Gregor Nick war zusammen mit ein paar Leuten von Falk Frassas Freundeskreis „Fotografie tut gut“ auf Fotoreise in der Lagunenstadt. Freut euch auf Live-O-Töne mit spannenden Geschichten vom Fischmarkt, dem 92-jährigen Entenjäger, einem Glasorgel-Konzert und den Legenden vom bunten Burano in den Outtakes. PS: Es tut mir leid, dass die Ambient Live-Töne leider sehr leise sind

Immerse yourself in La Dolce Vita as the CP7 Boys talk to Mo Coppoletta, an avid De Bethune collector, tattoo artist and designer, as well as the man and mind behind Italy's newly launched and stylish independent watch brand, Gagà Laboratorio. Joining us from Verona in Italy, London-based Mo's passion for style and flair in his debut watch, the Labormatic, is there for all to hear, but it's his quest for the finest quality that only a good watch can have, that will win you over in this show. Like the great movie La Dolce Vita's director, Frederico Fellini, he shares that  “Sweet Life” passion for making sure that feeling good is a priority, with watches and just about anything meaningful to us as individuals in life, and to never compromise that feeling. You will get a sense of how he puts his heart and soul into everything he does, especially when designing the Labormatic. Design is one of the most important qualities of a watch, particularly in the creative independent watchmaking space, and we get to hear about the incredible design influences behind both versions of the new Gagà Laboratorio Labormatic, the Cinquanta and the Bauhaus. Discover how they are based on 1950s Milanese-inspired industrial designs, stylish Italian scooters,  Smeg kitchen appliances, the Porsche 356 and surprisingly San Giorgio fans! Listen in as we unravel many strands of these 20th century design icons from the 50s and 60s in the DNA of this remarkable watch. The boys first saw this watch at Geneva Watch Days 2024 and immediately felt compelled to talk to the man behind the vision, so buckle up and enjoy the ride as we revel in an Italian and CP7  “settimo cielo”.Don't forget to check out the show notes on our website to add a visual experience at:www.chronopassion7.com or at our Instagram @chrono_passion_7.Intro-Outro Music Credit "The Attic Is For Work" By Streamer Music Group - Copyright Free Music

Riflessione di don Luigi Maria Epicoco presso la Parrocchia Sant'Antonio di Padova a San Giorgio a Cremano (NA) il 15/06/2023. --- Send in a voice message: https://podcasters.spotify.com/pod/show/esercizi-spirituali/message

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.   ​ 

Piero San Giorgio est un auteur survivaliste suisse connu notamment pour son livre "Survivre à l'effondrement économique", paru en 2011. Son nouveau livre "Survivre à la peur (Tome 1)" sorti en mars 2024 est disponible partout : https://www.piero.com/Épisodes recommandés :#149 Stéphane Édouard - Comment se bâtir un mental et une résilience à toute épreuve#157 Frédéric Delavier - Vers le progressisme ?#211 Vol West - Dans la peau d'un survivalisteRecevoir La Lettre Biomécanique :https://biomecaniquepodcast.com/Lettre Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Diego Marani"A Trieste con Svevo"La nave di Teseowww.lanavediteseo.eu“Questo libro racconta il viaggio che ho compiuto alcuni anni fa sulle tracce di Italo Svevo in una Trieste scomparsa ma ancora rintracciabile. La sua trama si sovrappone a quella dei personaggi sveviani e forma una storia che è come un'infilata di stanze. Quelle di un museo, di una scuola chiusa per le vacanze, di una fabbrica dismessa, di un grande appartamento vuoto della città vecchia sul cui parquet sconnesso scorrono le ombre dei personaggi che li hanno abitati e con la stessa velocità delle ore passano gli anni. Perché a Trieste il tempo ha una sua consistenza propria: si accumula come in un lavandino ingorgato, rischia di traboccare, poi di colpo qualcosa lo stura e interi decenni colano via in un fiotto. Finché un altro ingorgo si forma e tutto ricomincia. In uno di questi ingorghi sono rimasto intrappolato anche io, che frequento Trieste da ormai quarantacinque anni. Il lettore troverà così in queste pagine, assieme agli eroi sveviani, personaggi di quella triestinità eterna che nutrono lo spirito letterario della città e che per questo non appartengono a un tempo definito ma silenziosamente si riproducono in ogni epoca immortali.” (Diego Marani)Diego Marani è nato a Ferrara nel 1959. È direttore dell'Istituto italiano di cultura di Parigi ed è stato per lungo tempo funzionario dell'UE, dove si è occupato di lingue e di diplomazia culturale. Inventore della lingua-gioco Europanto, ha pubblicato L'ultimo dei vostiachi (2002), A Trieste con Svevo (2003), L'interprete (2004), Il compagno di scuola (2005, premio Cavallini), Come ho imparato le lingue (2005), Enciclopedia tresigallese (2006), La bicicletta incantata, pubblicato in cofanetto con il film di Elisabetta Sgarbi Tresigallo, dove il marmo è zucchero (2007), L'amico delle donne (2008), Il cane di Dio (2012), Lavorare manca (2014). Per La nave di Teseo sono usciti Vita di Nullo (2017), Il ritorno di San Giorgio (2019), La città celeste (2021) e la nuova edizione di Nuova grammatica finlandese (2022), romanzo tradotto in quindici lingue, vincitore tra gli altri del premio Grinzane Cavour 2001 e dell'Oxford-Weidenfeld Translation prize 2012.IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itQuesto show fa parte del network Spreaker Prime. Se sei interessato a fare pubblicità in questo podcast, contattaci su https://www.spreaker.com/show/1487855/advertisement

di Matteo B. Bianchi |In questa puntata pienamente autunnale di Copertina andiamo a conoscere gli appassionati librai di Casa Naìma, libreria di San Giorgio del Sannio, in provincia di Benevento; continuano poi le esplorazioni del mondo delle riviste indipendenti con Francesca Spiller, fondatrice a Milano di Reading Room, una delle pochissime librerie italiane dedicate esclusivamente ai magazine. Per finire, l'esimio collega podcaster Massimo Temporelli e l'autrice e sceneggiatrice Alice Urciuolo ci danno i loro personali consigli di lettura.LIBRI CONSIGLIATI IN QUESTA PUNTATA:L'ULTIMA COSA BELLA SULLA FACCIA DELLA TERRA di Michael Bible, AdelphiLA CANZONE POPOLARE di Nicholas Mathieu, MarsilioMADRE di Goldie Goldbloom, PlaygroundDomenico Cosentino e Flavia Peluso della libreria Casa Naìma di San Giorgio del Sannio in provincia di Benevento ci hanno consigliato:LETTERE ALL'INNAMORATA di Thierry Metz, Il Ponte del SaleC'É QUALCOSA DI Più NOIOSO CHE ESSERE UNA PRINCIPESSA ROSA di Raquel Díaz Reguera, SettenoveTRILOBITI di Breece D'J Pancake, MinimumfaxFrancesca Spiller della libreria di riviste Reading Room a Milano ci invita a scoprire la rivista QUANTO MAGAZINEMassimo Temporelli ci ha consigliato la lettura di:MACCHINE COME ME di Ian McEwan, EinaudiInfine la sceneggiatrice scrittrice Alice Urciuolo ci ha raccontato in anteprima:BLUETS di Maggie Nelson, nottetempo

In 1562, Veronese was commissioned to paint a massive painting of the “Wedding Feast at Cana” to adorn the end wall of the refectory of the Benedictine monastery of San Giorgio in Venice, Italy. What he produced was an extraordinary impression of typical Venetian revelry in the late 16th century with more than 100 figures participating in the great feast.

Welcome to Episode 1346; part of our new Italian wine interview series set in Dusseldorf, Germany. Today Joy Livingston interviews some representatives of the Grignolino Consorzio (the Monferrato Casalese Consorzio)! Stevie Kim and her team travelled to Dusseldorf, Germany this March to collaborate with ITA, the Italian Trade Agency. ITA was organizing some incredible Masterclasses featuring the best wines Italy has to offer. Each masterclass was led by the Master Sommelier Eros Teboni (awarded Best Sommelier Worldwide in 2018), and they wanted us there to document the amazing 3 days! Tune-in each Thursday as we bring you the great interviews that unfolded over the course of 3 days. More about today's guests: Established in 2016, the Consortium brings together 62 producers of Monferrato Casalese, as well as three wineries (Serralunga di Crea, San Giorgio and Lu) and deals with the protection, promotion and enhancement of Grignolino del Monferrato Casalese DOC, Barbera del Monferrato Superiore DOCG, Rubino of Cantavenna doc and Gabiano doc. In September 2018, the Consortium received recognition from the Ministry of Agricultural and Food Policies to carry out its functions in relation to the listed wines. Executive President Claudio Coppo Directors Mirko Carzino, Fabio Saravesi, Francesca Accornero, Costantina Sbarato, Giacomo Cattaneo Adorno, Elena Novarino, Savino Tondo Find out more by visiting: https://vinimonferratocasalese.it/il-consorzio/ More about the interviewer: Joy Livingston is the Producer of Italian Wine Podcast. Narrator extraordinaire and Scienza whisperer Joy Livingston has been known to edit the occasional book from time to time. When Joy is not busy Producing the podcast she is also working hard on the Mamma Jumbo Shrimp YouTube channel where many of the interviews stream on video! Let's keep in touch! Follow us on our social media channels: Instagram @italianwinepodcast Facebook @ItalianWinePodcast Twitter @itawinepodast Tiktok @MammaJumboShrimp LinkedIn @ItalianWinePodcast If you feel like helping us, donate here www.italianwinepodcast.com/donate-to-show/ Until next time, cin cin!

A couple days late but no fools fewer, it's the first April-sode of the season. Al takes Dee on a circuitous route through ancient history to the modern day, feasting on mushrooms, spaghetti and blaspheming scholars. Plus, a local ad for the tops in our audience. Main Ad: https://youtu.be/q-ZtGoXkI58 Local Ad: https://youtu.be/Q5sc9JByYgA Sources: https://www.adcreeps.gay/sources-1/312-sangiorgio

Next up in our tour of Vittore Carpaccio is “Saint Augustine in His Study.” Carpaccio was a specialist in creating series of huge paintings designed to hang in sequence to tell the story of a saint or other Biblical story and “St. Augustine” is one of these.  We'll find out how an unexpected visitor told the saint to get over himself, how Carpaccio created an immersive media experience in a Venetian meetinghouse, and how a dog beat out a weasel for a role in this scene.  SHOW NOTES “A Long Look” theme is “Ascension” by Ron Gelinas https://youtu.be/jGEdNSNkZoo Episode music is “Sheep May Safely Graze - BWV 208” and “Lone Harvest”  by Kevin MacLeod  https://incompetech.com/music/royalty-free/music.html. Licensed under Creative Commons: By Attribution 4.0 License http://creativecommons.org/licenses/by/4.0/ Exhibition information  https://www.nga.gov/exhibitions/2022/carpaccio-renaissance-venice.html Artwork information Vittore Carpaccio: Master Storyteller of Renaissance Venice by Peter Humphrey et al. New Haven: Yale University Press, 2022. St. Augustine bio https://www.britannica.com/biography/Saint-Augustine Scuola di San Giorgio degli Schiavoni tour (starts at 4:55) https://aur.edu/dalmatian-school-venice-professor-jason-cardone Words of Jerome to Augustine (Requires JSTOR login) Roberts, Helen I. “St. Augustine in ‘St. Jerome's Study': Carpaccio's Painting and Its Legendary Source.” The Art Bulletin 41, no. 4 (1959): pg 292. https://doi.org/10.2307/3047853. Post comments or questions at alonglookpodcast.com

Inizieremo la prima parte del nostro programma con alcune delle principali notizie di questa settimana. In primo luogo, parleremo della nomina, cerimoniata martedì dal Re Carlo III, di Rishi Sunak alla carica di Primo Ministro della Gran Bretagna. Commenteremo poi il notevole successo che i Paesi europei hanno raggiunto nel riempire al 95% i depositi di stoccaggio di gas naturale, entro la scadenza del 1° novembre, superando l'obiettivo originario dell'80%. Quindi, discuteremo di un recente studio pubblicato sulla rivista Nature che indica come alcune mutazioni genetiche che hanno aiutato alcuni individui a sopravvivere alla peste nera nel 1348, sono collegate a determinate malattie autoimmuni che colpiscono i loro discendenti ancora oggi. Infine, commenteremo l'onorificenza dell'Ordine di San Michele e San Giorgio che la principessa Anna ha conferito all'attore Daniel Craig - lo stesso onore concesso al suo personaggio James Bond - in riconoscimento al suo eccezionale contributo al cinema e al teatro.    Nella seconda parte del nostro programma, Trending in Italy, parleremo di alcuni audio pubblicati da LePresse, nei quali Silvio Berlusconi dice di aver ristabilito i rapporti con Vladimir Putin, facendo anche una ricostruzione sconclusionata delle responsabilità del Cremlino nell'invasione dell'Ucraina. Discuteremo infine della straordinaria impresa sportiva dell'italiano Filippo Ganna, che ha stabilito di recente il nuovo record dell'ora nel ciclismo. - Il Re Carlo III incarica Rishi Sunak di formare il prossimo governo britannico - Impianti di stoccaggio del gas in Europa riempiti al 95%. E sta arrivando altro gas - I sopravvissuti alla peste nera hanno sviluppato una mutazione genetica protettiva - Daniel Craig riceve la stessa onorificenza di James Bond - Gli audio di Silvio Berlusconi su Putin e la Guerra in Ucraina - Filippo Ganna segna uno storico record di velocità

Episode 117In Episode 117 of The Big Cruise Podcast. Chris brings us Maritime History / Listener Question from Sydney harbour as he embarks Coral Princess. Meanwhile Leighton jumps into the hot seat to discuss the latest Cruise News from around the world. Including news from Holland America Line, P&O Australia, Carnival, Viking, Paul Gauguin, Ponant & Uniworld.Thanks to Leighton for helping out with Cruise News this week... Watch out Chris...Support the showListen, Like, Subscribe & Review on your favourite podcast directory. Share the podcast with someone you think will enjoy the show Buy Me A Coffee – This podcast is only possible thanks to our supporters, simply buying a coffee keeps us on air. It is just like shouting your mate a coffee, and we consider our listeners close mates. https://bit.ly/2T2FYGX Sustainable Fashion – choose a TBCP design or design your own… all using organic cotton, green energy and zero plastic https://bit.ly/32G7RdhThrowback to the archivesEp 27 – Robin West – Expedition LeaderEP27 – Robin West (Seabourn Expeditions), Maritime History & Cruise News – The Big Cruise PodcastCruise NewsHolland America Line's Special 150th Anniversary Crossing is a Celebration of the Brand's JourneyExclusive musical piece composed for Lincoln Center Stage, collector's menu covers, culinary surprises, special gifts and more highlight the voyageAs Holland America Line prepares for its 150th Anniversary in 2023, the cruise line is kicking off a year of celebrations with a special transatlantic crossing in October. Primed to recreate a bygone era of ocean travel through Holland America Line's history, guests on board the voyage are in for a journey from past to present with special events, activities, and commemorative keepsakes.Departing Oct. 15, 2022, from Rotterdam, the Netherlands, to New York City aboard Rotterdam, the voyage retraces Holland America Line's first cruise back in 1872 aboard Rotterdam I. Guests will see the brand's history come alive through onboard enrichment programming, memorable culinary experiences and exclusive entertainment.Exclusive Lincoln Center Piece Composed for AnniversaryA highlight of the crossing will be a performance of a musical piece by Emmy Award-winning producer and Emmy-nominated composer Steven Schoenberg, written exclusively for Holland America Line's anniversary to accompany a special short film about the cruise line's journey. The composition will be performed by a 25-piece ensemble of former Holland America Line's Lincoln Center Stage musicians. The piece will debut on board Oct. 26 in New York on World Stage.During the sailing, guests also will be entertained by Dutch sensation Tiny Little Big Band, bringing their unique sound of jazz and soul with a hint of swing, along with the ship's Music Walk entertainment featuring BB King's Blues Club, Billboard Onboard, Lincoln Center Stage and Rolling Stone Rock Room.  Culinary Delights an Ode to Dutch HeritageEvery evening in the Main Dining Room, menus will showcase Holland America Line's 150-year history with a Classic Entrée reminiscent of a dish served as early as the 1920s. Guests can choose from selections including Royal Rib of Beef a la Medicis, Holland Duckling Port Wine Sauce and Artic Char a la Normande.A special 150th Gala Menu one evening in the Dining Room will be a memorable collection of dishes, with every option — from appetizers to desserts — from a previous Holland America Line voyage. The menu is designed to evoke a feeling of days gone by and features a keepsake cover that guests can take home.At least once during the voyage as a pop-up experience in Tamarind, guests can indulge in a Rijsttafel — a Dutch word that translates to “rice table” — with side dishes served in small portions, accompanied by rice prepared in several different ways. The Dutch adapted the Indonesian tradition so they could enjoy a wide array of dishes at a single sitting with an abundance of flavors and textures.The toasting continues with a “Throwback Happy Hour” that will roll back time and feature drinks priced to when the brand began, as low as 25 cents. Guests who want to learn about wine can join Holland America Line Vice President of Dining and Beverage Operations Anthony Stice for wine tastings and surprises around the ship.Additional culinary delights in honor of Holland America Line's 150th Anniversary include a special Dutch High Tea, Dutch station in Lido Market that features traditional sweet and savory items, one Dutch-themed lunch with classic Dutch items and one Indonesian-themed lunch, both in Lido Market.Enrichment and Activities Bring History to LifePresentations reliving the history and roots of the company will be offered by Bill Miller, maritime historian, and Holland America Line authority, while Dr. Jennifer Foray, professor of history at Purdue University, will deliver lectures on Dutch history.Origin Story, a staple on every Holland America Line cruise, is visual telling of the company's history from founding through present day. The presentation is offered in World Stage with 270-degree wraparound LED screens that envelop the audience in an emotional journey that includes incredible, historical images.­­­­­­­­­­­­­Holland America Line's 75th Anniversary Season in the Great Land Comes to an EndFollowing a full season of 107 cruises and Cruisetours aboard six ships, Holland America Line set sail from Alaska for the last time this year with Eurodam and Koningsdam completing a final port visit at Ketchikan yesterday, Thursday, Oct. 6, before ending at Seattle, Washington, and Vancouver, British Columbia, Canada, respectively on Saturday.P&O Cruises Returns to Noumea as Cruising Resumes in New CaledoniaThe resumption of cruising in the South Pacific is gaining momentum, with P&O Cruises Australia's Pacific Explorer today becoming the first cruise ship to return to New Caledonia.Pacific Explorer sailed into Noumea this morning for a historic overnight stay following the reopening of New Caledonia's maritime borders to cruise tourism.The call is the latest in a series of milestones for P&O's flagship, which was the first cruise ship to return to Australia in April this year, as well as the first ship to visit New Zealand and Fiji in August.Ships from across Carnival Australia's family of brands will make more than 20 visits to New Caledonia over the remainder of 2022, with more than 150 calls scheduled for 2023.Light Camera & Action on Carnival Celebration With a ship as expansive and exciting as Carnival Cruise Line's new Carnival Celebration, there will be countless ways to celebrate with never-before-seen live entertainment.From new main production shows and aerialist acts to game shows, parties and events, the ship's new unique offerings have been designed to be as much celebrations as they are performances, with elevated and engaging presentations, upbeat vibes, energetic music, playful choreography, colourful scenes, and tons of fun.Highlights from the new Playlist Productions and Center Stage offerings include:The Most Magnificent Circus – a story of celebrating self-discovery and acceptance will unfold to reimagined popular hits as a big-top circus comes to life. Taking talent to new heights – literally – wire-rigged performers will showcase their skills leaving the stage behind to soar above and beyond the audience, creating action in every direction. Guests will adventure through a fully immersive theatrical circus experience as the most extravagant aerialist show in the fleet uses all of the ship's high-flying capabilities to the max, with mesmerizing trapeze, chair, chandelier, hoop, ladder and mirror aerial performances throughout.Colour My World – An Indie Rock and Pop Love Story – romance will be in the air as a popular artist and his assistant go on a journey of love through art and colour. The artistic love story will blend fun dance styles such as street jazz, hip-hop, musical theatre and ballet with the best songs from indie rock and pop genres. Combining different mediums of art to create a visually captivating experience, this vibrant and colourful show will feature live painting on stage with music and choreography to match. Visual Symphony (starting in December) – as the name suggests, this innovative show will use Celebration Central's 16 massive moving LED screens, lasers and classical rock music to create a high-tech visual masterpiece. Pushing the boundaries of theatrical performances, the show will take full advantage of the cutting-edge technology and special effects in the zone's three-deck-high space. As the LED walls' content is synced with the choreographed lighting designs, the elevated multimedia experience will deliver an extraordinary live performance.Rio Carnival (starting in May) – coming soon, this vibrant and high-energy Brazlian extravaganza will have guests moving their hips in a parade and celebration of music and dance as the cast performs authentic samba, bossa nova, marchinha, batudada, forro, carimbo and capoeira to some of the most famous Latin pop songs of all time in both in Portuguese and English.In addition to Family Feud Live, Deal or No Deal and the Love and Marriage game shows, some of the new offerings will include:What's Age Got to Do With It – in this question and answer trivia show for fun of all ages, one parent and child will have to prove they are the best family duo.Cash Bash – in partnership with the casino team, guests can win cash prizes as they compete in Fun Squad challenges and interactive activities.Guess That Grove – guests will have to listen up and get ready to move as they show off their knowledge of iconic tunes and groovy dance skillsSpace Cruisers Program to Debut on Carnival Celebration this NovemberIn celebration of World Space Week, Carnival Cruise Line announced today that it is partnering with Kennedy Space Center Visitor Complex to launch a children's space program with activities inspired by NASA science, which will debut on Carnival Celebration this November.As part of Camp Ocean's science and discovery programming, the credible Space Cruisers curriculum supported by NASA is designed to be as educational as it is fun and will enable children of all ages to explore the universe and our home planet in an array of hands-on and one-of-a-kind learning experiences. Children will be able to complete “missions” (activities) to earn a special, themed mission patch representative of the program.A summary of the Space Cruisers programming can be viewed here. Highlights include:Optimal Orbit (ages 2-8) – learn the pull of gravity and how planets, satellites and other objects move through space in a hands-on experience with a giant trampoline.Design Your Own Mission Patch (ages 6-11) – join the long-standing tradition among astronauts and design your own take-home mission patch to tell your story.Space Cruisers Rocket Workshop (ages 6-11) – follow in the footsteps of NASA's talented engineers and build your own paper rocket to fly high to the sky.Mars Base Connect (family-friendly) – explore the steps it takes to build a Mars base and come together with family members to create your own.ASTRO! (family-friendly) – call out constellations as they're displayed on a unique star projector in a space-themed BINGO game for the chance to win special giveaways.The program will debut on Carnival Celebration when it sets sail on its inaugural voyage from Miami this November, and will then be rolled out to the Space Coast with Mardi Gras in Port Canaveral in time for the holiday season. Various activities from the program will later go fleetwide in time for spring break.Freshly refurbished Le Ponant hoists sails againPONANT's iconic three-masted sailing yacht Le Ponant, which was the founding ship where the PONANT story began, has undergone a major renovation ahead of her voyage to Australia to set sail for her inaugural Kimberley season in 2023.After several months undergoing renovation at the San Giorgio del Porto yard in Italy, the yacht offers a remarkably private setting and has been entirely updated with cutting edge eco-responsible innovations. After an exclusive collection of itineraries in the Mediterranean, Le Ponant will spend the winter in the Seychelles before arriving in Australia in April 2023.The newly imagined Le Ponant is an invitation to go sailing whilst recharging the batteries on voyages that respect the world around, where privacy and exploring with others go hand in hand with eco-responsibility.When luxury and privacy combine with the magic of travel and eco-responsible navigationThirty years after her launch, Le Ponant has been transformed to provide guests with a unique travel experience. After undergoing a complete renovation, the ship now accommodates just 32 guests with a 1:1 passenger to crew ratio. The sleek, refined layout was designed by the Studio Jean-Philippe Nuel and Sterling Design International to create a sense of luxury, privacy and tranquillity that makes guests feel as if they are on their own private sailing yacht.The 4 passenger decks provide 16 spacious staterooms including a 60m2 Owner's Suite on the upper deck ‘Zephyr' with a private balcony. The common areas have been refitted to allow guests to fully enjoy the panoramic gastronomic restaurant; to re-energise in the spa, wellness area or gym; or relax in the sun lounge area in an ambiance of quiet contemplation.In line with the company's policy, Le Ponant reflects an ongoing commitment to a more responsible tourism. The sailing ship is equipped with all the latest technologies to optimise emissions reduction: connecting to electricity grids where available in ports, using the sails, an innovative SCR filter system to eliminate fine particles and cut nitrogen oxide emissions by 90%, sorting waste and latest generation wastewater treatment. Every guest experience has been thought through to help protect the environment and heritage, such as non-motorised water sports and individual or small-group landings at ports of call with the focus on local heritage.Uncrowded, Le Ponant offers guests the ultimate luxury invitation to enjoy authentic experiences and moments of rare privilege close to nature, under sail as the preferred mode of travel. On board, an expedition leader and naturalist guides share their unrivalled knowledge as they discover unusual treasures at sea and during ports of call. In addition to exclusive activities, on board and off, guests enjoy exquisite cuisine based on locally sourced ingredients.Aboard Le Ponant, every detail has been included to offer a timeless experience; a voyage that awakens the senses within a bubble of exploration at its most authentic.Viking Celebrates 25th Anniversary in Amsterdam Viking marked the company's 25th anniversary with a historic celebration in Amsterdam. To commemorate the milestone, for the first time ever, three classes of Viking ships—a river ship, an ocean ship and the company's newest expedition vessel, the Viking Polaris—met in Amsterdam and sailed in a special convoy to IJmuiden, Netherlands. Participating in the convoy with the Viking Polaris were the Viking Longship, the Viking Mani, and the ocean vessel, the Viking Mars.During the Amsterdam event, Viking also named the Viking Polaris and her identical sister ship, the Viking Octantis®, which is currently sailing her inaugural season in the Great Lakes. Both ships will spend the Austral summer in Antarctica, before travelling north to the Great Lakes for a series of voyages during spring and summer.Viking's 25th anniversary celebration in Amsterdam is the most recent event during a milestone year in which the company has also welcomed to its fleet eight new Viking Longships on the rivers of Europe and new purpose-built vessels on the Mekong, Nile and Mississippi rivers. By the end of 2022, two new, identical ocean ships will have also joined Viking's fleet. Earlier this year, Viking was named the #1 Ocean Line and #1 River Line in Travel + Leisure's 2022 “World's Best” Awards, in which the company became the first cruise line ever to top both categories in the same year. Viking is also rated #1 for both rivers and oceans by Condé Nast Traveler, making it the first cruise line to ever simultaneously earn #1 in its categories from both publications. Additionally, Viking has published a new video about the company's history and some of the key partners who have contributed to its success, which was shared on board all Viking ships today as part of the 25th anniversary celebration.Paul Gauguin Cruises opens sales for 2024A unique opportunity awaits to explore the paradise isles and sunny shores of Polynesia as Paul Gauguin Cruises launches sales for its 2024 small-ship cruises with 33 sailings to 7 destinations, including 2 new itineraries crafted by the company's destination experts.The various itineraries for 2024 centre on water sports including swimming, scuba driving, kayaking, paddle boarding and snorkelling, discovering local traditions and visiting UNESCO World Heritage sites. Aboard Le Paul Gauguin, attentive service and fine cuisine take inspiration from the Polynesian lifestyle. Combining this with privileged moments such as a traditional Polynesian barbecue on Motu Mahana off the protected Taha's Island.Uniworld's New 2023 ItinerariesUniworld Boutique River Cruises announces brand-new mystery cruise itineraries in Europe, as well as enhancements to its Exotics Collection for 2023, with the launch of its first Cruise and Rail journey in India and a new itinerary in Egypt as part of its family-focused Generations Collection.2023 Mystery ItinerariesBack by popular demand, in 2023, Uniworld will launch two brand-new mystery cruise itineraries across Europe. Departing on June 18, 2023, the first 10-day mystery cruise will be a roundtrip sailing along iconic rivers throughout Amsterdam, Netherlands. On July 7, 2023, the second 10-day mystery cruise will be hosted by Uniworld president and CEO Ellen Bettridge, and will start in Nice, France and end in Lyon, France. On-trip excursions, special events, and overall itineraries will remain a complete mystery to cruise passengersCruise & Rail: The Sacred Ganges & the Maharajas' ExpressFollowing the success of the inaugural season of its Cruise and Rail itinerary in Europe, Uniworld is teaming up with Maharajas' Express to offer a new 16-day immersive journey through India. The trip combines seven nights' sailing in supreme comfort aboard the Ganges Voyager II from Kolkata, with a 7-night luxury private train journey through the Golden Triangle and Rajasthan to Mumbai, spending an additional two nights in Oberoi Hotels in New Delhi and Mumbai.Unmissable icons such as the Taj Mahal, Amber Fort and Ranthambore National Park – home to one of the world's largest populations of Bengal Tiger – are included alongside more local encounters, stopping at smaller temples and villages along the way. The itinerary also features four MAKE TRAVEL MATTER® Experiences including learning about the art of making ornamental brass objects at an artisan workshop in Matiari and a visit to local NGO Calcutta Rescue, which serves the area's underprivileged children.Departing on October 28th, 2023.Egypt Generations sailingsDeparting on December 16th, 23rd, & 30th, 2023, Uniworld's new dedicated Generations departures will introduce guests of all ages to Egypt's ancient wonders, vibrant capital and welcoming people. Combining seven nights aboard the all-suite River Tosca sailing round-trip from Luxor with a four night land stay at The Nile Ritz-Carlton Hotel in Cairo, the trip mirrors the popular 12-day Splendors of Egypt and the Nile itinerary, with additional experiences aimed at keeping the whole family entertained.Alongside must-sees such as the Pyramids of Giza, Valley of the Kings and Temples of Karnak, Luxor and Hatshepsut, activities include taking part in a family-friendly football match with local children and some of the ship's crew, sand dune boarding and a swim in the Nile, exploring the river by bike and traditional felucca, and a behind-the-scenes visit to the Captain's wheelhouse.Image Credit: Le ponant, Ponant Cruises.And moreJoin the show:If you have a cruise tip, burning question or want to record a cruise review get in touch with us via the website https://thebigcruisepodcast.com/join-the-show/ Guests: Chris Frame: https://bit.ly/3a4aBCg   Chris's Youtube: https://www.youtube.com/c/ChrisFrameOfficialPeter Kollar: https://www.cruising.org.au/Home Leighton Schembri: https://bit.ly/3elmhbWListen & Subscribe: Amazon Podcasts: https://amzn.to/3w40cDcApple Podcasts: https://apple.co/2XvD7tF Audible: https://adbl.co/3nDvuNgCastbox: https://bit.ly/2xkGBEI Google Podcasts: https://bit.ly/2RuY04u I heart Radio:  https://ihr.fm/3mVIEUASpotify: https://spoti.fi/3caCwl8 Stitcher: https://bit.ly/2JWE8Tz Pocket casts: https://bit.ly/2JY4J2M Tune in: https://bit.ly/2V0Jrrs Podcast Addict: https://bit.ly/2BF6LnE Hosted on Acast. See acast.com/privacy for more information.

Ogni anno, moltissime persone visitano il Bel Paese, attratti dalle bellezze storiche e naturali che lo contraddistinguono. Se parliamo di località marittime, però, i turisti tendono a visitare il bellissimo sud Italia, ignorando le piccole gemme del nord - tra queste troviamo La Spezia, una città portuale situata in Liguria, ma a pochi chilometri dal confine con la bellissima Toscana. Proprio perché poco conosciuta dai turisti, abbiamo deciso di dedicare l'articolo di oggi a questa città (a nostro parere) sottovalutata. 5 COSE IMPERDIBILI A LA SPEZIA In questo articolo vi portiamo con noi alla Spezia, dove abbiamo deciso di passare una giornata. Se anche voi volete fare una “gita fuori porta” in questa bellissima cittadina, allora dovreste assolutamente provare queste 5 cose di cui sto per parlarvi...! 1 - IL MARE Si tratta di una città di mare in Italia, quindi è d'obbligo fare una passeggiata sul lungomare! Se volete percorrere il lungomare spezzino, infatti, potete fare una camminata lungo Passeggiata Morin, un percorso che si sviluppa lungo tutta l'area di attracco di navi e barche, tra due file di palme, e che affaccia su un panorama mozzafiato. Non mancano le panchine per riposarsi all'ombra delle palme, e spazi verdi - se siete amanti dei fiori come me, questo sarà il vostro luogo preferito della città! Dalla zona portuale potete fare tranquillamente delle escursioni in barca verso le destinazioni turistiche vicine (e più gettonate), come Porto Venere, le Cinque Terre, Lerici, le isole del golfo - che, fra l'altro, sono patrimoni dell'UNESCO! In alternativa potete provare le specialità di mare nei ristoranti e nei localini qui vicino, ma anche solo passeggiare tra le palme e i ponti vi permetterà di ammirare panorami incredibili! Non so a voi, ma a me piace tanto un bel panorama con mare, barche, colline, fiori e palme! Un bel mix, non trovate? 2 - IL CIBO Dopo una lunga passeggiata, probabilmente vi verrà un languorino e dovrete cercare un posto in cui mangiare. Noi vi consigliamo di mangiare cose che si possono trovare solo qui e scegliere un locale tipico per mangiare le specialità della Liguria: la focaccia, vuota o ripiena, o addirittura con il formaggio fresco; il pesto (che, nel nostro caso, era nella focaccia); oppure la farinata di ceci (tipica sia della trazione ligure che toscana). Troppi carboidrati? Beh, siamo pur sempre in Italia…! Tra le altre specialità ligure che troverete con molta facilità alla Spezia ci sono anche i fiori di zucca ripieni e le torte di verdura, oltre agli sgabei e ai testaroli. Se invece volete provare qualche piatto tipico a base di pesce, potete assaggiare lo stoccafisso in umido con patate e olive, o i "muscoli" (cozze ripiene). Da buoni italiani, il nostro pranzo è terminato con un caffè e un pasticcino - il tutto nella bellissima piazza Verdi, che fa da sfondo alla fighissima installazione di archi con acqua e specchi progettata dall'artista francese Daniel Buren. 3 - GLI ASCENSORI Siate sinceri: avete mai visto una città… con gli ascensori? No, non nei palazzi, ma proprio nel bel mezzo della città! Ebbene, noi non li avevamo mai visti prima di visitare La Spezia. Lasciate che vi spieghi meglio: la città si estende su più livelli (tra mare e monti), quindi salire e scendere a piedi per le scale, magari più volte al giorno, può risultare difficile, e per questo la città ha installato dei comodissimi ascensori - che tra l'altro sono panoramici - a disposizione dei cittadini e dei turisti. Potete usufruirne in maniera completamente gratuita! Figo, no? Si tratta di due ascensori inclinati, che collegano il castello di San Giorgio a due punti più in basso - per questo motivo vengono chiamati "Ascensori di San Giorgio": uno ha la stazione a valle in via XX Settembre e la stazione a monte in via XXVII Marzo, di fronte all'ingresso del Castello, mentre l'altro collega via XX Settembre con via dell'indipendenza.

A new podcast every day of Lent.  Join us in Rome as we focus on the Lenten Station Church of the day.