Podcasts about San Marco

Arte Canaletto - Spendieren Sie einen Cafè (1€)? Donate a coffee (1€)? https://ko-fi.com/italiano Livello A2 #arte #gemälde #storia #italy #vhs #canalettoVita e opere di Giovanni Antonio Canal Buongiorno cari amici e amanti dell'italiano e benvenuti all'episodio numero Oggi parliamo di arte e più in dettaglio di un pittore che tutti voi sicuramente conoscete e cioè il Canaletto. Se il nome non vi dice niente allora pensate a Venezia, pensate alla Basilica di San Marco oppure al Canal Grande e ora pensate di vederle come una fotografia e poi ancora su un quadro. Avete capito vero? Sì, vi voglio parlare proprio del pittore che ha dipinto Venezia nel Settecento in modo così preciso e reale che quando si pensa a un quadro di Venezia, si pensa proprio alle sue famose vedute. Infatti il Canaletto, suo vero nome Giovanni Antonio Canal, era un rappresentante dello stile del „vedutismo“, cioè la pittura delle vedute. Tutto questo viene dal verbo „vedere“ perché nei suoi quadri vediamo i canali, le piazze e la vita di Venezia. Questo pittore era così preciso e sì qualche volta ha anche forse idealizzato la città, ma ha comunque sempre rappresentato la città lagunare in modo realistico e così bello da diventare molto famoso e richiestissimo....- The full transcript of this Episode is available via "Luisa's learn Italian Premium", Premium is no subscription and does not incur any recurring fees. You can just shop for the materials you need or want and shop per piece. Prices start at 0.20 Cent (i. e. Eurocent). - das komplette Transcript / die Show-Notes zu allen Episoden sind über Luisa's Podcast Premium verfügbar. Den Shop mit allen Materialien zum Podcast finden Sie unterhttps://premium.il-tedesco.itLuisa's Podcast Premium ist kein Abo - sie erhalten das jeweilige Transscript/die Shownotes sowie zu den Grammatik Episoden Übungen die Sie "pro Stück" bezahlen (ab 20ct). https://premium.il-tedesco.itMehr info unter www.il-tedesco.it bzw. https://www.il-tedesco.it/premiumMore information on www.il-tedesco.it or via my shop https://www.il-tedesco.it/premium

Fabiano Massimi"Le furie di Venezia"Longanesi Editorewww.longanesi.itLa Storia tra le righeFestival di Letteratura StoricaLegnanoDomenica 6 aprile, ore 12:00Castello di LegnanoCon Fabiano Massimi "Le furie di Venezia"Venezia, 1934. Mussolini e Hitler si incontrano per la prima volta in una piazza San Marco gremita di camicie nere. Tra la folla, anche l'ex commissario di polizia Siegfried Sauer e il suo compare Mutti, che hanno raggiunto la città lagunare per unirsi alla resistenza antifascista. La speranza è di creare un incidente che sventi il pericolo di un'alleanza tra Italia e Germania.Sauer e Mutti incappano però in un mistero di ben altra portata: nella notte, in gran segreto, Mussolini si inoltra in motoscafo nella laguna. I due riescono a seguirlo fino al largo di San Clemente, dove lo vedono attraccare a un pontile buio e poi entrare, accolto da un uomo in camice bianco, nell'edificio principale dell'isola. Un'ora più tardi, il Duce torna al motoscafo e riattraversa la laguna per rientrare ai suoi alloggi, visibilmente scosso.Sauer e Mutti decidono di indagare e scoprono che sull'isola c'è un manicomio femminile, e che lì è ospitata una paziente misteriosa di nome Ida Dalser. La sua storia ha dell'incredibile: la donna, infatti, sostiene di essere nientemeno che la prima e unica legittima moglie di Benito Mussolini…Chi è veramente Ida Dalser? Una folle? Una bugiarda? O una vittima in possesso di informazioni che metterebbero a rischio il Regime?Sauer e Mutti si renderanno ben presto conto che dietro Ida Dalser e le sue accuse inaudite c'è molto, molto di più. C'è l'inimmaginabile.Fabiano Massimi è nato a Modena nel 1977. Laureato in Filosofia tra Bologna e Manchester, dopo aver lavorato come traduttore e consulente per alcune fra le maggiori case editrici italiane, oggi insegna scrittura creativa nel programma universitario della Scuola Holden. Per Longanesi ha pubblicato L'angelo di Monaco (2020), I demoni di Berlino (2021) e Se esiste un perdono (2023), romanzi tradotti in numerose lingue che gli sono valsi tra l'altro il premio Asti d'Appello in Italia e il Prix Polar in Francia.IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.

Follow @foobarshowEpisode 362 - Now That's What I Call a PodDoom Scrolling IntroThe Foos are recovering from a house party they threw this weekend for Joe C's birthday-Now That's What I Call Stout by Vitamin Sea Brewing in Weymouth, MA-Joe C's fake commercial-McDonald's napkin glovesGeeking Out:-Foo Fighters to Tour with Green Day this summer-Marvel comic book releases-DC Comic book releases-Witchpunk from Image Comics-Steph highlights some movies this weekHere's What I Would Do:-Matt in San Marco didn't know his sister was bringing her dog to the party-Alyssa in Studio City suspects her boyfriend of cheating with a coworkerGive us a 5-star positive review on Apple Podcasts!Listen at foobarshow.com or anywhere you get your podcasts.

Fluent Fiction - Italian: Unmasking Destiny: Giulia's Carnevale Treasure Hunt Find the full episode transcript, vocabulary words, and more:fluentfiction.com/it/episode/2025-03-07-23-34-01-it Story Transcript:It: La piazza San Marco risplendeva sotto il cielo invernale, coperta da un manto di voci e maschere colorate.En: La piazza San Marco glistened under the winter sky, covered by a blanket of voices and colorful masks.It: Era il Carnevale di Venezia, un momento magico in cui sogni e realtà si fondono.En: It was the Carnevale di Venezia, a magical moment when dreams and reality blend together.It: Giulia si aggirava nervosamente, il suo sguardo cercava tra la folla.En: Giulia wandered nervously, her gaze searching through the crowd.It: Doveva trovare quel medaglione, l'ultima traccia lasciata dalla nonna.En: She had to find that medallion, the last trace left by her grandmother.It: Il cuore le batteva forte mentre si faceva largo tra i costumi sgargianti e i suoni festosi.En: Her heart was pounding as she made her way through the flamboyant costumes and festive sounds.It: "Non ti preoccupare, Giulia," disse Alessandro, il suo amico buffo e sempre ottimista.En: "Don't worry, Giulia," said Alessandro, her funny and always optimistic friend.It: "Conosciamo queste strade.En: "We know these streets.It: Troveremo il tuo tesoro."En: We'll find your treasure."It: Ma Giulia era ansiosa.En: But Giulia was anxious.It: Anche con l'aiuto di Alessandro, sembrava un'impresa impossibile.En: Even with Alessandro's help, it seemed like an impossible task.It: Proprio mentre cominciava a perdere la speranza, un uomo mascherato si avvicinò.En: Just as she began to lose hope, a masked man approached.It: "Sei Giulia, vero?"En: "You're Giulia, right?"It: chiese, svelando il suo volto sorridente.En: he asked, revealing his smiling face.It: Era Luca, un perfetto sconosciuto, ma con uno sguardo gentile.En: It was Luca, a perfect stranger, but with a kind look.It: "So cosa cerchi."En: "I know what you're looking for."It: Giulia lo guardò con sospetto.En: Giulia looked at him suspiciously.It: "Come fai a saperlo?"En: "How do you know?"It: domandò.En: she asked.It: "Conoscevo tua nonna.En: "I knew your grandmother.It: Mi ha parlato di te," rispose Luca.En: She told me about you," replied Luca.It: "Posso aiutarti, ma avrei bisogno di un piccolo favore."En: "I can help you, but I would need a small favor."It: Giulia esitò.En: Giulia hesitated.It: Poteva fidarsi?En: Could she trust him?It: Alessandro la affiancò.En: Alessandro came alongside her.It: "Sei sicura?"En: "Are you sure?"It: mormorò.En: he murmured.It: Ma c'era qualcosa in Luca che ispirava fiducia, un legame invisibile che sembrava conoscere.En: But there was something about Luca that inspired trust, an invisible bond that seemed familiar.It: Mentre camminavano insieme, la folla si faceva più densa.En: As they walked together, the crowd grew thicker.It: All'improvviso, Giulia vide il medaglione tra le mani di un uomo in costume.En: Suddenly, Giulia saw the medallion in the hands of a man in costume.It: Si precipitò verso di lui, convinta che fosse quello vero.En: She rushed towards him, convinced it was the real one.It: Ma incontrando lo sguardo dell'uomo, scoprì la verità: era solo una copia.En: But meeting the man's gaze, she discovered the truth: it was just a copy.It: Delusa, Giulia tornò da Luca, ormai persuasa che lui avesse la risposta.En: Disappointed, Giulia returned to Luca, now persuaded that he had the answer.It: "Dimmi dov'è", implorò.En: "Tell me where it is," she implored.It: Luca annuì.En: Luca nodded.It: "Lo sapevo che avresti capito.En: "I knew you would understand.It: Vieni con me."En: Come with me."It: Condotti da Luca, si diressero verso una bottega d'arte, nascosta dietro le calli.En: Led by Luca, they headed towards an art shop, hidden behind the calli.It: Lì, dietro un piccolo quadro, c'era il vero medaglione.En: There, behind a small painting, was the real medallion.It: Giulia lo prese tra le mani, il cuore colmo di pace.En: Giulia took it in her hands, her heart filled with peace.It: Luca sorrideva dolcemente.En: Luca smiled softly.It: "Tua nonna voleva che fossi tu a trovarlo."En: "Your grandmother wanted you to find it."It: Tornando nella piazza, adesso più serena, Giulia capì quanto fossero preziosi i legami.En: Returning to the square, now more serene, Giulia realized how precious bonds are.It: Aveva trovato non solo un cimelio, ma anche una nuova connessione con chi la circondava.En: She had found not only a keepsake, but also a new connection with those around her.It: Il Carnevale continuava, e così anche la sua nuova avventura di vita, insieme ai suoi amici.En: The Carnevale continued, and so did her new adventure of life, along with her friends. Vocabulary Words:the square: la piazzato glisten: risplendereblanket: mantothe grandmother: la nonnato wander: aggirarsigaze: sguardothe heart: il cuoreflamboyant: sgargiantethe treasure: il tesoromasked: mascheratostranger: sconosciutothe bond: il legameto nod: annuirethick: densocostume: costumeto rush: precipitarsithe truth: la veritàcopy: copiadisappointed: delusopersuaded: persuasato implore: implorarethe art shop: la bottega d'artethe alleyways: le callito reveal: svelareto inspire: ispirarefamiliar: familiareto discover: scoprireto hesitate: esitareto trust: fidarsikeepsake: cimelio

Roberto Deidier"Quest'anno il lupo fissa negli occhi l'uomo"Molesini Editore Veneziawww.molesinieditore.itNell'introduzione a Il primo orizzonte Luigi Surdich scriveva, leggendo la poesia di Roberto Deidier: «Scopriamo […] di trovarci nel centro della poesia contemporanea: nel cuore di una poesia da secolo nuovo […] che, per deliberata presa di distanze tanto dallo sperimentalismo quanto dalla declinazione postmoderna, fonda il luogo della pronuncia in versi in una peculiare “attualità”». A più di vent'anni, l'esattezza elegante delle parole di Surdich colpisce anche laddove sia inevitabile, oggi, vederne virare il colore verso tinte forse inattese. Anche questo è, a dispetto della dichiarazione del suo autore, libro unitario, in cui la linea del tempo non si palesa e anzi si fa elemento di coerenza architettonica dell'insieme, parlandoci di una poesia capace di persistere, insistendo nel tempo, facendosene attraversare, senza farsene, però, esaurire. Siamo alla presenza di un lirico di razza, forse uno degli ultimi nel nostro panorama poetico, per il quale ogni cosa è, anzitutto, questione di ritmo.Quest'anno il lupo fissa negli occhi l'uomoTra i muri di una casa l'universoHa i segreti che può avere un giardino:Una carezza è lo schiudersi di corolle.I moti dei venti accennano un sussultoE le leggi del suono e della luceMimano all'alba una stella che nasceTra il letto e la cucina. La vita nuzialeÈ in questa fisica dell'essenziale.Roberto Deidier (Roma 1965). Vive tra la sua città natale e Palermo, dove insegna Letteratura italiana all'Università. Le sue poesie sono raccolte nei volumi Una stagione continua (Pequod, 2002), Il primo orizzonte (San Marco dei Giustiniani, 2002), Solstizio (Mondadori, 2014), All'altro capo (Mondadori 2021). Nel 2011 è apparso un quaderno di versioni poetiche, Gabbie per nuvole (Empirìa). Le sue traduzioni da John Keats sono pubblicate in un Meridiano Mondadori; per la stessa collana ha curato Poesie, prose e diari di Sandro Penna. Tra i suoi volumi di saggi si ricordano Le forme del tempo. Miti, fiabe, immagini di Italo Calvino (Sellerio 2004, nuova edizione 2023) e Il lampo e la notte. Per una poetica del moderno (Sellerio 2012).Marco Carmello (Milano 1974) insegna letteratura italiana all'Università Complutense di Madrid. È autore di saggi e articoli su Brunetto Latini, Tesauro, Vico, Gadda, Michelstaedter, Manganelli, Morante, Pizzuto, Morselli, Caproni. Si occupa di estetica e teoria della letteratura, ermeneutica, poetica, stilistica, letterature comparate e lavora sulle relazioni fra poesia e filosofia oltre che sull'intertestualità fra la letteratura e le altre arti.IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.

Full Text of ReadingsTuesday of the Sixth Week in Ordinary Time Lectionary: 336The Saint of the day is Blessed John of FiesoleBlessed John of Fiesole's Story The patron of Christian artists was born around 1400 in a village overlooking Florence. He took up painting as a young boy and studied under the watchful eye of a local painting master. He joined the Dominicans at about age 20, taking the name Fra Giovanni. He eventually came to be known as Fra Angelico, perhaps a tribute to his own angelic qualities or maybe the devotional tone of his works. He continued to study painting and perfect his own techniques, which included broad-brush strokes, vivid colors and generous, lifelike figures. Michelangelo once said of Fra Angelico: “One has to believe that this good monk has visited paradise and been allowed to choose his models there.” Whatever his subject matter, Fra Angelico sought to generate feelings of religious devotion in response to his paintings. Among his most famous works are the Annunciation and Descent from the Cross as well as frescoes in the monastery of San Marco in Florence. He also served in leadership positions within the Dominican Order. At one point, Pope Eugenius approached him about serving as archbishop of Florence. Fra Angelico declined, preferring a simpler life. He died in 1455. Reflection The work of artists adds a wonderful dimension to life. Without art our lives would be much depleted. Let us pray for artists today, especially those who can lift our hearts and minds to God. Blessed John of Fiesole is the Patron Saint of: Christian Artists Saint of the Day, Copyright Franciscan Media

Giuseppe Vettori"Persona e Pluralismo"Leo S. Olschki Editorewww.olschki.itNella Chiesa di San Marco a Firenze, sono raccolte le spoglie di alcuni dei più grandi uomini che nel corso di 500 anni hanno dedicato opere e parole decisive sul valore della Persona. Nel testo se ne ricorda due: Pico della Mirandola e Giorgio La Pira. Il primo, nella sua Orazione sulla dignità dell'uomo, esalta la visione di un uomo collocato “al centro del mondo”, “né celeste né terreno, né mortale né immortale”, “investito dell'onore di decidere liberamente”. Nel 1944 il secondo, durante la fuga per sottrarsi a un ordine di cattura della polizia fascista, inizia una riflessione sulla condizione dell'uomo del suo tempo, muovendo da una Weltanschauung capace di dare risposta agli interrogativi sui problemi essenziali della realtà e della Storia. Da quelle radici nasce l'idea di Persona, da affermare, oggi, come fonte e sintesi dei criteri di valutazione dell'umano. Senza alcun rilievo giusnaturalistico e senza alcuna riduzione identitaria, ma con una tecnica basata su un'oggettività ideale e giuridica espressa da due fattori: il Pluralismo, sociale e politico, e un'azione ordinante della dimensione sempre nuova dell'esistenza.Giuseppe Vettori è professore emerito dell'Università di Firenze. Ha fondato nel 1995, la collana “Persona e mercato” ed è direttore dell'omonima rivista. I suoi studi sulla Persona, il Contratto, l'Efficacia, l'Opponibilità, i Rimedi sono confluiti in lavori monografici tra i quali si segnala, da ultimo, Effettività tra legge e diritto (2020). Un'attenzione particolare è stata dedicata al diritto europeo nei volumi Diritto dei contratti e “Costituzione” europea (2005) e Diritto privato e ordinamento comunitario (2009). Tra il 2011 e il 2015 è stato coordinatore del Dottorato di Diritto Privato Europeo promosso dall'Università degli Studi di Firenze e dall'Istituto Italiano di Scienze Umane (SUM), ora Scuola Normale Superiore. Ha partecipato in qualità di relatore e coordinatore a moltissimi convegni e incontri nazionali e internazionali in Italia, Germania, Francia, Spagna, Argentina, Cuba. - (settembre 2024) -IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.

Alberto Trentini, 45 anni, cooperante veneziano, è detenuto in Venezuela dal 15 novembre. Accusato di terrorismo, un'accusa tanto pesante quanto nebulosa, in un paese dove la trasparenza giudiziaria è un lusso sconosciuto e i rapporti con l'Italia sono tesi. Da quel giorno, il silenzio è diventato l'unico interlocutore per la sua famiglia e i suoi amici. La sua è la storia di chi dedica la vita agli altri: in missione con l'ong Humanity & Inclusion, Alberto lavorava con persone con disabilità, lontano dai riflettori, vicino alle fragilità. Eppure, oggi il suo nome è intrappolato in un'accusa che sa di pretesto politico, un bersaglio facile in un contesto internazionale complicato. La diplomazia italiana, con il ministro degli Affari esteri Antonio Tajani, ha dichiarato di essere al lavoro, ma i risultati latitano. Il sindaco di Venezia Luigi Brugnaro ha chiesto di poter incontrare Trentini, ma la burocrazia e le tensioni bilaterali sembrano più forti della volontà di risolvere la vicenda. Intanto, la società civile non resta a guardare. Amici e concittadini si mobilitano: fiaccolate, raccolte firme, presidi in piazza San Marco. Non è solo una questione di affetto, è un grido collettivo contro l'indifferenza. Perché ogni giorno che passa senza notizie è un giorno in più di ingiustizia. Tenere alta l'attenzione non è un esercizio retorico. È un dovere civile. Perché la storia ci ha insegnato che l'oblio è il primo alleato degli abusi. Alberto Trentini deve tornare libero. Nonostante tutto. Perché salvare uno significa non abituarsi mai a perdere tutti. #LaSveglia per La NotiziaDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/la-sveglia-di-giulio-cavalli--3269492/support.

Fin dai primi giorni di Sigep, la nuova E.LUXURY ha attirato l'attenzione di migliaia di visitatori. Questo modello di punta, presentato nello stand de La San Marco, rappresenta l'eccellenza dell'azienda di Gradisca d'Isonzo (GO), che vanta 105 anni di storia nella produzione di macchine professionali per il caffè. “La E.LUXURY rappresenta la perfetta sintesi tra tradizione e innovazione -  spiega il General Manager di La San Marco, Roberto Nocera - Abbiamo voluto creare una macchina che non solo fosse all'avanguardia dal punto di vista tecnologico, ma che fosse anche un capolavoro di design, in grado di impreziosire qualsiasi ambiente in cui venga collocata.” E.LUXURY rappresenta l'ultima frontiera in termini di design, tecnologia e funzionalità. Questo modello elettronico si distingue per un'estetica di design unica e raffinata, che già caratterizza la versione a leva. La carrozzeria, completamente trasparente, è realizzata in vetro temperato dello spessore di 1 cm, un dettaglio che non solo garantisce robustezza e sicurezza, ma dona anche un tocco di eleganza e unicità ad ogni ambiente. Questa scelta estetica permette di valorizzare al massimo la visibilità delle componenti interne, esaltando la bellezza della meccanica di precisione artigianale che contraddistingue ogni macchina La San Marco.

SIGEP - La San Marco, storica azienda isontina con oltre un secolo di esperienza nella produzione di macchine professionali per il caffè, si prepara a partecipare al Sigep 2025, uno degli appuntamenti più importanti per il settore del Foodservice internazionale. L'evento, in programma a Rimini dal 18 al 22 gennaio, sarà l'occasione per presentare non solo un'area espositiva ricca di novità, ma anche un calendario di incontri dedicati all'approfondimento delle tematiche legate all'espresso, fiore all'occhiello della tradizione italiana.

Fluent Fiction - Italian: Magic and Harmony: An Adventure in the Heart of Venezia Find the full episode transcript, vocabulary words, and more:fluentfiction.com/it/episode/2025-01-03-23-34-01-it Story Transcript:It: La mattina era fredda e limpida a Venezia.En: The morning was cold and clear in Venezia.It: Piazza San Marco luccicava sotto la luce d'inverno, con le lampade dorate che illuminavano la folla in festa.En: Piazza San Marco glimmered under the winter light, with the golden lamps illuminating the festive crowd.It: Luca, Gianna e Fabrizio erano lì per la Befana, ma per Luca c'era qualcosa di più.En: Luca, Gianna, and Fabrizio were there for la Befana, but for Luca there was something more.It: Aveva studiato l'architettura veneziana per anni e finalmente aveva l'opportunità di vederla dal vivo.En: He had studied Venetian architecture for years and finally had the opportunity to see it in person.It: "Guarda, Gianna," disse Luca, indicando la Basilica di San Marco.En: "Look, Gianna," said Luca, pointing to the Basilica di San Marco.It: "È ancora più bella di quanto avessi immaginato."En: "It's even more beautiful than I imagined."It: Gianna sorrideva.En: Gianna smiled.It: La sua macchina fotografica era pronta per catturare ogni dettaglio.En: Her camera was ready to capture every detail.It: Lei amava fotografare l'umanità, le emozioni, i momenti.En: She loved photographing humanity, emotions, moments.It: Anche il suo sogno era davanti a lei—l'opportunità di raccontare una storia attraverso le immagini.En: Her dream was also in front of her—the opportunity to tell a story through images.It: Fabrizio, invece, aveva altri piani.En: Fabrizio, on the other hand, had different plans.It: Si spostava da un punto all'altro della piazza, cercando il prossimo divertimento e una buona tazza di cioccolata calda.En: He moved from one point of the square to another, seeking the next delight and a good cup of hot chocolate.It: "Luca, basta con i monumenti.En: "Luca, enough with monuments.It: Vieni, c'è un mercatino qui vicino," lo esortava.En: Come on, there's a market nearby," he urged.It: Luca esitava.En: Luca hesitated.It: Voleva visitare chiese e musei, sentire il peso della storia e l'arte che lo chiamava.En: He wanted to visit churches and museums, feel the weight of history and the art that called to him.It: Fabrizio però sembrava avere un'energia contagiosa.En: However, Fabrizio seemed to have a contagious energy.It: Gianna, osservando la tensione tra i due, cercava una soluzione.En: Gianna, noticing the tension between the two, sought a solution.It: "Facciamo entrambi!En: "Let's do both!It: Io faccio le foto e voi potete esserci dentro.En: I'll take photos and you can be in them.It: Sarà come raccontare la nostra avventura," propose con entusiasmo.En: It will be like telling our adventure," she proposed enthusiastically.It: Così, seguirono le tracce della città lungo i canali, con Luca che spesso si fermava a osservare i dettagli intricati di un edificio, mentre Gianna immortalava ogni momento.En: Thus, they followed the traces of the city along the canals, with Luca often stopping to observe the intricate details of a building, while Gianna captured every moment.It: Fabrizio, un po' annoiato, trovava il suo entusiasmo nelle piccole cose, come i bar e le maschere che offrivano un altro lato di Venezia.En: Fabrizio, a bit bored, found his enthusiasm in the small things, like bars and masks that offered another side of Venezia.It: Arrivati davanti a una vecchia chiesa, Luca si fermò, incantato dai suoi affreschi.En: In front of an old church, Luca stopped, enchanted by its frescoes.It: Le immagini parlavano di storia, di fede, di bellezza.En: The images spoke of history, faith, beauty.It: Rimase lì, immobile, con gli occhi sgranati di fronte al capolavoro.En: He stood there, motionless, with eyes widened before the masterpiece.It: Fabrizio entrò, con noncuranza, ma qualcosa nello splendore silenzioso del luogo lo colpì.En: Fabrizio entered, casually, but something in the quiet splendor of the place struck him.It: Tosse piano ed esitò al fianco di Luca.En: He coughed lightly and hesitated beside Luca.It: "Forse avevi ragione," sussurrò.En: "Maybe you were right," he whispered.It: "C'è qualcosa di speciale qui."En: "There's something special here."It: Luca sorrise, grato per capire che Fabrizio poteva vedere oltre quello che sembrava solo pietra e colore.En: Luca smiled, grateful to understand that Fabrizio could see beyond what seemed like just stone and color.It: Gianna catturò l'istante, una nuova armonia tra amici.En: Gianna captured the moment, a new harmony among friends.It: Alla fine, si ritrovarono di nuovo in Piazza San Marco, dove la Befana stava per cominciare.En: In the end, they found themselves once again in Piazza San Marco, where la Befana was about to begin.It: La processione sfilava davanti a loro, un equilibrio perfetto tra tradizione e celebrazione.En: The procession paraded before them, a perfect balance between tradition and celebration.It: "Luca," disse Fabrizio, "Venezia è veramente magica."En: "Luca," said Fabrizio, "Venezia is truly magical."It: Luca annuì, accettando che la magia era una combinazione di passato e presente.En: Luca nodded, agreeing that the magic was a combination of past and present.It: "Sì, capisco," rispose.En: "Yes, I understand," he replied.It: E mentre guardavano insieme lo spettacolo della Befana, si resero conto che condividendo esperienze, si possono intrecciare passioni diverse in un'unica grande storia.En: And as they watched the la Befana show together, they realized that by sharing experiences, different passions can weave into one great story.It: Nel cuore di Venezia, sotto il cielo d'inverno, i tre amici trovarono il perfetto equilibrio tra storia e festa.En: In the heart of Venezia, under the winter sky, the three friends found the perfect balance between history and celebration.It: E Luca imparò che la bellezza dell'arte non solo soddisfa l'anima, ma unisce anche gli spiriti avventurosi di chi sa guardare.En: And Luca learned that the beauty of art not only satisfies the soul but also unites the adventurous spirits of those who know how to look. Vocabulary Words:the morning: la mattinaclear: limpidato glimmer: luccicarethe lamps: le lampadeto illuminate: illuminarethe crowd: la follathe architecture: l'architetturathe camera: la macchina fotograficato capture: catturarethe emotions: le emozionithe delight: il divertimentoenough: bastato urge: esortareto hesitate: esitarethe churches: le chiesethe museums: i museito seek: cercarethe solution: la soluzioneenthusiastically: con entusiasmothe canals: i canalito observe: osservareintricate: intricatibored: annoiatothe frescoes: gli affreschimotionless: immobilethe masterpiece: il capolavoroto cough: tossireto whisper: sussurrarethe harmony: l'armoniato parade: sfilare

We trace Venice's remarkable flowering between the 1300s and 1500s, in which it astonished Europe as a center of commercial and imperial power, learning, and art, as well as its repeated struggles -- with the bubonic plague, the Ottoman Turks, the rival Italian states, and the Catholic Church -- that forced Venice to give up its empire, and to transform into a pleasure-ground of music, theater, sex, and revelry -- arguably becoming the world's first tourist attraction -- before finally losing its long-treasured independence and becoming a pawn of modern powers. Image: Painting by Canaletto, 1730s, showing the Sensa festival fleet and the Bucintoro returning to San Marco after the marriage to the sea ceremony. Thank you to Sarai Cole for permitting use of an exceprt of her rendition of Vivaldi's "Filiae Maestae Jerusalem" / "Sileant Zephyri" -- https://soundcloud.com/sarai-cole-freericks/sileant-zephyri-from-filiae-maestae-jerusalem-vivaldi Suggested further reading: Ferrarro, "Venice: History of the Floating City"; Madden, "Venice: A New History"; Morris, "The Venetian Empire: A Sea Voyage" Please sign up as a patron to help keep the pod coming, and to hear patron-only lectures, including the recent series on the Epic of Gilgamesh -- https://www.patreon.com/c/user?u=5530632

"Le furie di Venezia" (Longanesi) è il nuovo romanzo di Fabiano Massimi, autore di "L'angelo di Monaco", "I demoni di Berlino" e "Se esiste un perdono". Ancora una volta siamo negli anni Trenta, gli anni del fascismo in Italia e del nazismo in Germania. Se "L'angelo di Monaco" raccontava la storia vera della nipote di Hitler trovata morta in una stanza chiusa a chiave, stavolta siamo a Venezia fra il ' 34 e il '42. I protagonisti sono sempre Siegfried Sauer, ormai ex commissario di polizia, e il suo collega Mutti. Hanno organizzato un attentato nei confronti di Mussolini e Hitler in piazza San Marco, ma il piano fallisce e per caso, seguendolo durante la notte, scoprono che il Duce che è stato sull'isola di San Clemente dove c'è un manicomio femminile. Perché Mussolini ci è andato e soprattutto chi è rinchiuso a San Clemente? Da qui parte l'indagine che, come sempre nei romanzi di Fabiano Massimi, è un mix fra fatti reali e fantasia.

Het zijn bijzondere dagen, zo vlak voor Kerst. Zeker voor priester Antoine Bodar, die komende week zijn 80e verjaardag hoopt te vieren. Velen kennen hem als de priester die regelmatig in de media verschijnt – en altijd garant staat voor prikkelende interviews – maar een groot deel van zijn leven is gewijd aan kunst en schoonheid. Hij is namelijk ook kunsthistoricus, en daar maken we gebruik van deze aflevering. We duiken in de wereld van schilderkunst en muziek, allemaal in het teken van Kerst. Wat is schoonheid? Heeft dat te maken met God? En wat vertelt kunst over ons en onze tijd? Misschien denk je: schilderijen in een podcast, hoe dan? Geen zorgen! We beschrijven de kunstwerken uitvoerig en je kan ze zelf bekijken op onze Instagrampagina. (https://www.instagram.com/p/DD27XxPI6po/?utm_source=ig_web_copy_link) Daarnaast is de aflevering vanaf 15.00 uur vandaag (zondag) te zien op het YouTube-kanaal van NPO Radio 1. (https://www.youtube.com/watch?v=aMOoTqNbPDI&t=747s) David Boogerd in gesprek met Antoine Bodar en uiteraard vaste gast theoloog Stefan Paas, professor aan de VU in Amsterdam en de Theologische Universiteit Utrecht. De besproken schilderingen: 1.⁠ ⁠Annunciatie van Fra Angelico (https://en.wikipedia.org/wiki/Annunciation_(Fra_Angelico,_San_Marco)#/media/File:Angelico_-_Annunciation_-_San_Marco_north_corridor.jpg) 2.⁠ ⁠⁠Madonna del Parto van Piero della Francesca (https://nl.wikipedia.org/wiki/Madonna_del_parto#/media/Bestand:Madonna_del_parto_piero_della_Francesca.jpg) 3.⁠ ⁠⁠De aanbidding van de herders van Rembrandt (https://www.nationalgallery.org.uk/media/4949/rembrandt-adoration-shepherds-r-two-thirds.jpg)

En hel episode viet til verdens vakreste by, La Serenissima! Det blir tips og inspirasjon, og enten du skal til Venezia for første eller femte gang - eller bare vil reise dit i tankene - så er denne episoden for deg.Her er stedene vi tipser om:OVERNATTING:Ca'Amadi - en håndfull rom i et palass fra 1300-tallet som tilhørte familien til Marco Polo. To suiter med utsikt over kanalen.Antico Doge - det tidligere palasset til dogen Marin Falier. Suiten har en fantastisk balkong!Ca'Vendramin - nok et palass med kanalutsikt. De har ulike rom i størrelse og stil, vi anbefaler suiten som har balkong over kanalen. BARER: Cantinone già Schiavi - koselig, familiedrevet bar ved San Trovaso-kanalen i Dorsoduro.Vino Vero - en moderne vinbar ved Misericordia-kanalen i Cannareggio.Caffe Brasilia - upretensiøs cafe og bar med gode cocktails i San Marco.RESTAURANTER:Osteria Al Portego - Kos deg med god mat og drikke i baren eller i restaurantdelen. 5 minutter fra Rialto-broa.Osteria Al Mariner - God sjømatrestaurant i Cannareggio - også gode pastaretter. Om sommeren kan man sitte ute ved kanalen.Osteria Enoteca Ai Artisti - fine dining i en knøttliten restaurant i Dorsoduro. Om sommeren kan man sitte ute ved et bord langs kanalen.MUSEER:Dogepalassets Secret Tour, Accademia-galleriet for fantastisk kunst, Campanilen for et overblikk, Scuola Grande di San Rocco for grandiose malerier av Tintoretto, Markuskirken.DIVERSE: Vaporetto nr 1 på Canal Grande fra Piazzale Roma til Markusplassen.San Geremia-kirken for å besøke Sankta Lucia som ble drept den 13. desember i år 304 e.Kr.En reisepodcast produsert av Bortebest.no og Tenkkoffert.com Hosted on Acast. See acast.com/privacy for more information.

David Marovich, VyStar, and Claire Chinn, Ronald McDonald House Charities of Jacksonville, join JMN to share details of the Light Up The House 5K event on Friday Dec 6 starting at 5pm. You don't have to run (or walk, or dance, or whatever!) the 5K to participate in the block party, just come out and have fun. The Ronald McDonald House of Jacksonville is at 824 Children's Way in San Marco, and your donations and participation are welcome. Visit RMHCJACKSONVILLE.ORG for more information or to make a donation.

In this week's conversation, we speak with Stefania Uccheddu, Veterinarian and Coordinator of the Behavioral Medicine Service at the San Marco Veterinary Clinic and Laboratory, located in San Marco, Italy.  In this conversation, our focus is specifically the grief-like process that dogs can go through when they lose their dog companion, but Stefania does touch on a few other really key intersecting spaces that go hand in hand with the dog's experience. Having witnessed what our dog Blue went through after losing his sister Pip, I was really interested in finding out how we all might support our beloved dogs better after losing what we all consider a pack or family member.  Will you need a tissue, maybe. But really, this is a positive, kind, and really sweet episode. The focus is on acknowledging in our dogs what we humans are also going through. And this is what we love so much about the research Stefania Uccheddu and her team have been working on.  Please share this episode! It's so validating and supportive for those of us who have gone through this with our pets. It's such a gift.  Lots of Love. Episode Time Stamps: Introduction: 00:52 Interview: 6:32 TA: 55:04 Show Note Links: https://www.clinicaveterinariasanmarco.it/

We've been to Las Vegas and back for the very unofficial recurring gathering we like to call BarrageCon (which is really just all of us hanging out at Mark's place). We had a lot of games lined up to play, and I daresay we did a pretty good job of getting through them. Here's our report back, just a bunch of impressions of a bunch of games - including Rise & Fall, Fractured Sky, and Wilmot's Warehouse! 02:26 - Harvest 07:18 - Fractured Sky 18:13 - Penguin Party 22:10 - San Marco 27:14 - EGO 31:45 - Barony 37:30 - Rise & Fall 49:49 - Wilmot's Warehouse 56:45 - Tiny Laser Heist 1:01:32 - Nekojima 1:02:45 - Bottle Imp 1:07:45 - The Vale of Eternity 1:11:53 - Shogun Get added to the BGB community map at: https://boardgamebarrage.com/map Send us topic ideas at: https://boardgamebarrage.com/topics Check out our wiki at: https://boardgamebarrage.com/wiki Join the discussion at: https://boardgamebarrage.com/discord Join our Facebook group at: https://boardgamebarrage.com/facebook Get a Board Game Barrage T-shirt at: https://boardgamebarrage.com/store

Con este Domingo  XXXIII 33 entramos en la recta final del Año Litúrgico que finalizaremos el próximo Domingo con la solemnidad de Cristo Rey. El Año Litúrgico que iniciamos con el bello tiempo de Adviento o tiempo de preparación  al Nacimiento de Jesús. La Iglesia nos invita hoy a reflexionar acerca del fin de los tiempos, sobre cuál será el futuro de este mundo en el que ya se ha iniciado el Reino de Dios en la persona de Jesus que San Marco durante todo el año domingo tras domingo nos ha presentado a través de su Evangelio. Hoy todos los cristianos del mundo somos convocados a una seria meditación sobre esta Segunda venida del Hijo del Hombre. El cumplimiento del último acontecimiento positivo de la Historia de la Salvación.San Marcos hoy termina haciéndonos una llamada a la Fe y a la Esperanza. Garantizandonos que el mundo no está a la deriva, el mundo no se ha soltado un solo instante de la mano protectora de Dios. El mundo es creación de Dios y está enteramente bajo su cuidado a quien no se le escapa nada de su mirada, ningún dolor, ninguna lágrima, ninguna angustia y por eso confiamos en su Palabra y esperamos contra toda esperanza como nos lo dice hoy el Evag.  EL CIELO Y LA TIERRA PASARÁN PERO MIS PALABRAS NO PASARÁN.  Y San Pablo nos recuerda que Dios  todo lo permite para el  bien de los que le aman. Y recordemos siempre que, aunque estemos viviendo tiempos difíciles sometidos a gran violencia e injusticias  nunca estamos solos porque vivimos protegidos en las divinas manos de nuestro querido Padre Creador.  Feliz Semana   Hna. Maria Ruth  Radio Paulinas Boston

Esistono monumenti e luoghi del mondo che, non appena li sentiamo pronunciare, iniziano a farci viaggiare con l'immaginazione: pensiamo a piazza San Marco a Venezia o al monte Fuji, alle cascate del Niagara o a Mont Saint-Michel, alle piramidi egizie o a Gerusalemme, a Stonehenge o a Ponte Vecchio a Firenze. Ma cosa succede quando questi luoghi accendono gli occhi degli artisti e prendono vita nei loro quadri? Questo ci racconta in questo podcast, Emanuela Pulvirenti, architetto e celebre divulgatrice di storia dell'arte. Il risultato è un sorprendente itinerario tra le meraviglie del mondo antico e moderno, viste dalla prospettiva unica dei pittori: un viaggio nello spazio e nel tempo. Un'immersione inedita nella storia dell'arte per scoprire retroscena, storie e curiosità su alcuni dei luoghi più belli del mondo che, grazie allo sguardo degli artisti, si dischiudono davanti a noi come se li osservassimo per la prima volta. Emanuela Pulvirenti ha scritto per Rizzoli “Cartoline d'Artista. Viaggio tra le meraviglie del mondo nei dipinti più belli della storia dell'arte”. E' storica dell'arte, architetto e dottore di ricerca in Fisica Tecnica Ambientale con specializzazione in illuminotecnica. Nel 2001 ha fondato lo Studio Triskeles Associato, per il quale ha curato l'illuminazione di musei, chiese e aree archeologiche in tutta Italia.  A cura di Francesco De Leo. Montaggio di Silvio Farina. https://storiainpodcast.focus.it - Canale Eventi e luoghi ------------ Storia in Podcast di Focus si può ascoltare anche su Spotify https://open.spotify.com/show/293C5TZniMOgqHdBLSTaRc ed Apple Podcasts https://podcasts.apple.com/it/podcast/la-voce-della-storia/id1511551427. Siamo in tutte le edicole... ma anche qui: - Facebook: https://www.facebook.com/FocusStoria/ - Gruppo Facebook Focus Storia Wars: https://www.facebook.com/groups/FocuStoriaWars/ (per appassionati di storia militare) - YouTube: https://www.youtube.com/user/focusitvideo - Twitter: https://twitter.com/focusstoria - Sito: https://www.focus.it/cultura Learn more about your ad choices. Visit megaphone.fm/adchoices

5 Days Prayer Challenge Rules-  Identify what suffering(s) you are surrendering, lovingly offering up, and uniting to Jesus' for the salvation of the world. Each time you face a difficult situation at home or work, a headache, or pain of any kind, pray, “Lord, I offer this to you for the sake of [insert name of someone who needs extra Grace].” Offer it up to Jesus! It was sent to you as Grace, for Grace. As pruning, not as punishment. 2. Remove something from your daily routine (coffee, meat, sugar, and/or gossip) 3. Add formal prayer to your daily routine (mantra, rosary, and/or silence- prayer of the heart- 15 minutes in the morning, or afternoon, and 5 minutes at night before bed) 4. Wake up to Love at least 15 minutes before your usual alarm (tip- when you pray or chant at night, you'll easily rise the next morning). Feel God before exiting bed. Be Love all day. You'll look back and know that Oct 21st, everything changed for GoOD. I love you and I'm with you! Nik  ___________ My new book, 'Wake Up to Love' is a lifetime in the making (and now a Top New Release, thanks to you!). Divinely inspired. Love led. And WILL bring forth the ‘more' in you. ❤️‍

When James and John ask Jesus to sit at his right and left hand, he confronts them with the reality of suffering that must come before glory. What does that mean for us today? Does suffering come before glroy? Father Jeremiah considers Jesus' words in response to James and John and the other apostles.Image: Fra Angelico, frescoes, San Marco, picture posted by Frans Vandewalle, licensed under CC BY-NC 2.0, no changes made. Image location: https://www.flickr.com/photos/snarfel/4120035206/

Fluent Fiction - Italian: Finding Hope: A Love Story Amidst Venezia's Flooded Streets Find the full episode transcript, vocabulary words, and more:fluentfiction.org/finding-hope-a-love-story-amidst-venezias-flooded-streets Story Transcript:It: Le foglie dorate fluttuavano lentamente sull'acqua, formando un tappeto autunnale sopra le calli sommerse di Venezia.En: The golden leaves floated slowly on the water, forming an autumn carpet over the submerged calli of Venezia.It: L'aria profumava di acqua salmastra e tristezza.En: The air smelled of brackish water and sadness.It: Ora, la città sembrava sospesa tra sogno e realtà, un luogo dove la bellezza si mescolava alla desolazione.En: Now, the city seemed suspended between dream and reality, a place where beauty mixed with desolation.It: Giulia vagava per i canali, attenta a ogni suono.En: Giulia wandered through the canals, attentive to every sound.It: Era sola da quando l'acqua aveva travolto la sua casa, portando via tutto ciò che conosceva.En: She had been alone since the water had overwhelmed her home, taking away everything she knew.It: Il ricordo della sua amica che la avvertiva della tempesta persisteva nella sua mente.En: The memory of her friend warning her about the storm lingered in her mind.It: Con un nodo allo stomaco, Giulia continuava a cercare segni di vita tra i riflessi delle antiche finestre.En: With a knot in her stomach, Giulia continued to search for signs of life among the reflections of the ancient windows.It: Lorenzo, un artista dall'animo gentile, trovava bellezza anche nel disastro.En: Lorenzo, an artist with a gentle soul, found beauty even in disaster.It: Tinteggiava con la mente ogni scorcio dell'acqua alta.En: He painted with his mind every glimpse of the high water.It: Malgrado la perdita del suo studio, il suo spirito creativo non si spegneva.En: Despite losing his studio, his creative spirit did not extinguish.It: Osservava con gran pena le gondole galleggianti, ora inutili e deserte, ma sapeva che l'arte sarebbe rinata.En: He watched with great sorrow the floating gondolas, now useless and deserted, but he knew that art would be reborn.It: Mentre esplorava l'antica piazza di San Marco, Lorenzo vide Giulia.En: While exploring the ancient piazza of San Marco, Lorenzo saw Giulia.It: Il loro incontro fu semplice e silenzioso, un cenno bastò per stabilire una complicità.En: Their meeting was simple and silent, a nod was enough to establish a bond.It: Insieme cominciarono a cercare altri sopravvissuti, ogni giorno imparando a fidarsi un po' di più.En: Together they began to search for other survivors, each day learning to trust a little more.It: Angela era una di queste anime.En: Angela was one of these souls.It: Parcheggiata sopra un ponte di fortuna fatto di detriti, osservava il movimento di Giulia e Lorenzo.En: Perched on a makeshift bridge made of debris, she observed the movement of Giulia and Lorenzo.It: "Non c'è più niente qui", disse con una voce dura, ma vera.En: "There's nothing left here," she said with a voice harsh but true.It: Nonostante il suo aspetto scorbutico, Angela condivideva preziose informazioni sui luoghi ancora intatti, vitale per la loro sopravvivenza.En: Despite her gruff appearance, Angela shared valuable information about still intact places, vital for their survival.It: Le difficoltà non erano poche.En: The challenges were not few.It: Ogni giorno un nuovo ostacolo: cibo scarso, strade pericolose, altri sopravvissuti senza scrupoli.En: Every day a new obstacle: scarce food, dangerous roads, other unscrupulous survivors.It: Una sera, scoprirono un piccolo deposito di viveri in una casa abbandonata.En: One evening, they discovered a small stockpile of supplies in an abandoned house.It: Ma altri li avevano visti per primi.En: But others had seen them first.It: Con i nervi tesi, Giulia dovette decidere se lottare o trovare un altro modo.En: With nerves tense, Giulia had to decide whether to fight or find another way.It: Lorenzo parlò con calma, dipingendo nella mente degli altri un futuro condiviso, senza violenza.En: Lorenzo spoke calmly, painting in the minds of others a shared future without violence.It: Mostrò dipinti che portava con sé, immagini di una Venezia che poteva risorgere.En: He showed paintings he carried with him, images of a Venezia that could rise again.It: Gradualmente, le tensioni scesero, e tutti capirono che la cooperazione era l'unica via.En: Gradually, tensions eased, and everyone understood that cooperation was the only way.It: In un giorno grigio di ottobre, decisero di trasformare una vecchia locanda semi-sommersa in un rifugio sicuro.En: On a gray day in October, they decided to transform an old semi-submerged inn into a safe haven.It: Con il passare dei giorni, quello spazio incolore divenne una vivace comunità; bambini che giocavano, adulti che ridevano, mentre piccoli orti prendevano vita sui balconi.En: As days passed, that colorless space became a vibrant community; children playing, adults laughing, while small gardens came to life on the balconies.It: Giulia, ormai non temeva più il legame con Lorenzo, trovando in lui un confidente e compagno.En: Giulia, by now no longer feared the bond with Lorenzo, finding in him a confidant and companion.It: Insieme, il mondo sembrava meno ostile.En: Together, the world seemed less hostile.It: La fiducia e l'amicizia fiorivano come fiori tra le crepe di una città antica, promettendo un nuovo inizio sotto il cielo autunnale di Venezia.En: Trust and friendship blossomed like flowers among the cracks of an ancient city, promising a new beginning under the autumn sky of Venezia. Vocabulary Words:leaves: le fogliecarpet: il tappetobrackish: salmastrasadness: la tristezzadesolation: la desolazionecanals: i canalistorm: la tempestaknot: il nodoreflections: i riflessiartist: l'artistagentle: gentiledisaster: il disastroglimpse: lo scorciosoul: l'animosorrow: la penagondolas: le gondolepiazza: la piazzabond: la complicitàsurvivors: i sopravvissutimakeshift: di fortunadebris: i detritiobstacle: l'ostacolosupplies: i viveristockpile: il depositonerves: i nerviviolence: la violenzahavens: i rifugicommunity: la comunitàgardens: gli orticompanion: il compagno

Send us a textSan Marco, Florence: Nowhere else does the entirety of Renaissance social history converge in such a dynamic way. Upon returning from exile in 1434, Cosimo de' Medici found himself laden with guilt over the means in which his family had acquired their massive fortune. Certainly, with Pope Eugenius IV living in Florence with the Papal Curia, there was no better time for the wealthy banker to invest in religious buildings, namely the convent of San Marco. On this site, Cosimo de' Medici would display the wide range of his patronage, extending to architecture, painting, and to establishing a public library for the Republic of Florence. This episode analyzes the social and visual components of the reconstruction of San Marco, unpacking the rich symbolism in Michelozzo's structure built to house the vast collection of manuscripts acquired by the humanist Niccolò Niccoli. Then, it looks at the painted decoration of San Marco by the famed Renaissance artist Fra Angelico, deeply considering how painting displays the social structures that enabled their very creation. Works Discussed: Michelozzo, San Marco, Florence, 1429-44Fra Angelico, San Marco Altarpiece, 1438-43Get additional content by becoming a Patron: patreon.com/TheItalianRenaissancePodcast Support the show

In questo episodio viaggiamo! Prima andiamo con Matteo in provincia di Bergamo. In particolare visiteremo una bellissima valle e qualche paesino arrampicato sulle sue pendici. E poi... Venezia! Trascrizione interattiva e Vocab Helper Support Easy Italian and get interactive transcripts, live vocabulary and bonus content: easyitalian.fm/membership Note dell'episodio How Italians Talk about Football: Perfect for Italian Conversations - https://www.youtube.com/watch?v=SHGTdpGzYsw&t=69s Iniziamo subito viaggiando. Oggi andiamo con Matteo in Valle Imagna! https://it.wikipedia.org/wiki/Valle_Imagna In particolare velocemente visitiamo Berbenno https://it.wikipedia.org/wiki/Berbenno Corna Imagna https://it.wikipedia.org/wiki/CornaImagna Fuipiano https://it.wikipedia.org/wiki/FuipianoValle_Imagna Poi andiamo a Venezia! A quanto pare c'è qualche problema di attribuzione al leone sulla colonna a piazzetta San Marco. Da dove viene? Per saperlo dovete ascoltare l'episodio. qualche indizio? Le ali le ha messe arrivato a Venezia. https://it.wikipedia.org/wiki/PiazzaSanMarco Concludiamo con il dolce. Questa volta concludiamo con il dolce per eccellenza: il tiramisu. Parliamo della coppa del mondo del tiramisu che si terrà a Treviso. Fame? Noi sì. Molta! Raffaele ci racconta del tiramisu', la sua storia, e le sue non chiare origini. Trascrizione Matteo: [0:23] Buongiorno! (Buongiorno, Matteo!) Raffaele: [0:25] L'abbiamo detto insieme, grattati il naso! Matteo: [0:27] Fatto, perché? Sennò che succede? Raffaele: [0:30] Non ne ho idea, però da quando sono nato c'è questa tradizione. ... Support Easy Italian and get interactive transcripts, live vocabulary and bonus content: easyitalian.fm/membership

"Le furie di Venezia" (Longanesi) è il nuovo appassionante romanzo di Fabiano Massimi, autore di "L'angelo di Monaco", "I demoni di Berlino" e "Se esiste un perdono". Ancora una volta siamo negli anni Trenta, gli anni del fascismo in Italia e del nazismo in Germania. Se "L'angelo di Monaco" raccontava la storia vera della nipote di Hitler trovata morta in una stanza chiusa a chiave, stavolta siamo a Venezia fra il ' 34 e il '42. I protagonisti sono sempre Siegfried Sauer, ormai ex commissario di polizia, e il suo collega Mutti. Hanno organizzato un attentato nei confronti di Mussolini e Hitler in piazza San Marco, ma il piano fallisce e per caso, seguendolo durante la notte, scoprono che il Duce che è stato sull'isola di San Clemente dove c'è un manicomio femminile. Perché Mussolini ci è andato e soprattutto chi è rinchiuso a San Clemente? Da qui parte l'indagine che, come sempre nei romanzi di Fabiano Massimi, è un mix fra fatti reali e fantasia. Nella seconda parte parliamo di un grande successo per la critica americana: il romanzo "Biografia di X" di Catherine Lacey (Sur - traduz. Teresa Ciuffoletti), considerato il libro dell'anno delle riviste "Time" e "New Yorker". La voce narrante è una donna, Charlotte, che alla morte della moglie decide di scrivere una biografia su di lei che viene sempre chiamata X. Charlotte decide di scrivere della moglie morta dopo aver saputo che un uomo ha scritto una biografia di X che lei considera offensiva e non veritiera. Inizia così a studiare gli archivi privati di X, artista divisiva, provocatrice e geniale, e parla con le persone che l'avevano conosciuta, scoprendo cose della moglie che lei non sapeva. A iniziare dalle sue tante identità.

Acompáñanos hoy a la celebración de La Santa Misa: Vive la Santa Misa con el Padre Charbel Grbavac, evangelio San Marco 6, 17-29

It's Monday, Let's raise a glass to the beginning of another week. It's time to unscrew, uncork or saber a bottle and let's begin Exploring the Wine Glass!  Welcome to Winephabet Street. Today, the letter of the day is S and it stands for San Marco. Have you heard of this grape? This was a brand new variety to me and I was so intrigued to learn more and impressed once I tasted it. In fact, I took a bottle to a wine professional event and it was the hit of the evening! We had the pleasure of interviewing Jim Quarella and Larry Coia from Bellview Winery in New Jersey. These are the guys not only responsible for bringing the vines to the United States, but for naming the variety!  While you are listening, it would be greatly appreciated if you could take one minute to subscribe, rate and review. It takes only a few seconds of your time but means so much to the show. The next best way to support Exploring the Wine Glass is to tell your friends. If you enjoy the podcast, your wine loving friends will too. Follow me on all the socials and finally, don't forget to head to the website, Exploring the Wine Glass.com to read the blog, and sign up for the newsletter to keep up with all the happenings.  Slainte!  Find out more about Bellview Winery  Music: WINE by Kēvens Official Video Follow me on Instagram!   Follow me on Twitter! Subscribe to my YouTube channel SIGN UP FOR EXPLORING THE WINE GLASS NEWSLETTER SUBSCRIBE ON iTUNES STITCHER | iTUNES | GOOGLE PLAY | SPOTIFY | PODBEAN | AUDIBLE | BOOMPLAY Even ask your smart speaker to play Exploring the Wine Glass GIVE US A RATING AND REVIEW Thoughts or comments? Contact Lori at exploringthewineglass@gmail.com. Please support our sponsor Dracaena Wines - Our Wines + Your Moments + Great Memories Use code 'Explore' at checkout to receive 10% off your first order GET SPECIAL OFFERS FOR DRACAENA WINES

#ITALY: Ravel's Bolero in San Marco Square. Lorenzo Fiori, Ansaldo Foundation https://en.wikipedia.org/wiki/Piazza_San_Marco 1900 Bologna

Fluent Fiction - Italian: Secrets Beneath the Arches: A Ferragosto Revelation in Venice Find the full episode transcript, vocabulary words, and more:fluentfiction.org/secrets-beneath-the-arches-a-ferragosto-revelation-in-venice Story Transcript:It: In una calda giornata di Ferragosto, Luca e Sofia si trovavano in Piazza San Marco, a Venezia.En: On a hot Ferragosto day, Luca and Sofia were in Piazza San Marco, Venice.It: La piazza era piena di turisti, tutti cercavano riparo sotto gli elaborati archi della Basilica di San Marco.En: The square was full of tourists, all seeking shelter under the elaborate arches of the Basilica di San Marco.It: Improvvisamente, il cielo si scurì e cominciò a piovere a dirotto.En: Suddenly, the sky darkened, and it began to rain heavily.It: Luca prese la sorella per mano e la guidò sotto uno dei grandi portici.En: Luca took his sister by the hand and guided her under one of the large porticos.It: "Sofia, devo parlarti di qualcosa di importante," disse Luca, mentre la pioggia cadeva pesante sul piazzale.En: "Sofia, I need to talk to you about something important," said Luca, as the rain fell heavily on the square.It: I piccioni si disperdevano e la folla si ammassava sotto i portici.En: The pigeons scattered, and the crowd huddled under the porticos.It: "Non è il momento, Luca. È Ferragosto, dobbiamo goderci la giornata," rispose Sofia, visibilmente preoccupata.En: "This isn't the time, Luca. It's Ferragosto; we should be enjoying the day," replied Sofia, visibly worried.It: "Non posso più aspettare. Ho scoperto qualcosa su papà," insistette Luca.En: "I can't wait any longer. I discovered something about Dad," insisted Luca.It: Cercava di far capire alla sorella l'urgenza della sua richiesta.En: He tried to convey to his sister the urgency of his request.It: Il ronzio incessante della pioggia aumentava la tensione.En: The incessant buzzing of the rain heightened the tension.It: Sofia sospirò.En: Sofia sighed.It: "Cosa hai scoperto?"En: "What did you find out?"It: Luca cercò nella tasca e tirò fuori una vecchia fotografia, protetta da una busta di plastica.En: Luca searched his pocket and pulled out an old photograph, protected by a plastic sleeve.It: "Guarda questa foto. Papà non è chi pensavamo che fosse. Questa foto è stata scattata anni prima che ci conoscesse. C'è qualcosa che non sappiamo."En: "Look at this photo. Dad is not who we thought he was. This photo was taken years before he met us. There's something we don't know."It: Sofia guardò la foto, poi distolse lo sguardo, cercando di processare le informazioni.En: Sofia looked at the photo, then looked away, trying to process the information.It: "Questo non cambia niente, Luca. È sempre stato nostro padre. Non dobbiamo scavare nel passato."En: "This changes nothing, Luca. He's always been our dad. We don't need to dig into the past."It: "Sì, lo so. Ma c'è qualcosa di più. Ho trovato dei documenti. Potrebbero cambiare tutto quello che sappiamo su di lui," continuò Luca, determinato.En: "Yes, I know. But there's more. I found some documents. They could change everything we know about him," Luca continued, determined.It: La pioggia si intensificava, il rumore copriva le voci dei turisti che cercavano riparo.En: The rain intensified, the noise drowning out the voices of the tourists seeking shelter.It: Luca guardava la sorella, cercando di vedere un segno di comprensione nei suoi occhi.En: Luca watched his sister, trying to see a sign of understanding in her eyes.It: Finalmente, Sofia prese un respiro profondo.En: Finally, Sofia took a deep breath.It: "Sei sicuro di voler seguire questa strada? Potremmo scoprire cose che non ci piacciono."En: "Are you sure you want to pursue this? We might discover things that we don't like."It: "Sì, ne sono sicuro. Ho bisogno di sapere la verità. E ho bisogno del tuo supporto."En: "Yes, I'm sure. I need to know the truth. And I need your support."It: Sofia guardò ancora la foto, poi Luca.En: Sofia looked at the photo again, then at Luca.It: "D'accordo, ti aiuterò. Scopriremo la verità, insieme."En: "Okay, I'll help you. We'll find out the truth, together."It: La pioggia cominciò a diminuire, il rumore si affievoliva.En: The rain began to lessen, the noise subsiding.It: Luca sentì un'ondata di sollievo. Aveva la sua alleata, la sorella che amava e che avrebbe affrontato con lui qualsiasi verità.En: Luca felt a wave of relief. He had his ally, the sister he loved and who would face any truth with him.It: "Grazie, Sofia. Non avrei potuto farlo senza di te."En: "Thank you, Sofia. I couldn't have done this without you."It: "Va bene, Luca. Siamo una famiglia. Affronteremo tutto insieme."En: "It's alright, Luca. We're family. We'll face everything together."It: Mentre la pioggia si trasformava in una leggera pioggerella, i due si abbracciarono.En: As the rain turned into a light drizzle, the two embraced.It: Si sentivano pronti per la strada che avevano davanti. La loro determinazione era rinvigorita, e il legame tra di loro più forte che mai.En: They felt ready for the path ahead. Their determination was invigorated, and their bond stronger than ever.It: E così, sotto il cielo di Venezia, Luca e Sofia si prepararono a scoprire la verità sul loro padre, uniti e determinati come non mai.En: And so, under the sky of Venice, Luca and Sofia prepared to uncover the truth about their father, united and more determined than ever. Vocabulary Words:the square: la piazzathe tourist: il turistathe basilica: la basilicathe arch: l'arcothe hand: la manothe portico: il porticothe rain: la pioggiathe crowd: la follathe request: la richiestathe tension: la tensionethe sleeve: la bustathe photograph: la fotografiathe father: il padrethe document: il documentothe ally: l'alleatothe umbrella: l'ombrellothe decision: la decisionethe truth: la veritàthe bond: il legamethe sky: il cielothe brother: il fratellothe sister: la sorellathe eye: l'occhiothe noise: il rumorethe relief: il sollievothe support: il supportoto discover: scoprireto embrace: abbracciareto pursue: perseguireto guide: guidare

In this captivating episode of Venice Talks, Monica sits down with Claudio Vernier, President of Associazione Piazza San Marco. In this episode, they delve into the significance of Piazza San Marco and its crucial role in Venice's identity. Key Notes- Join Monica in an insightful conversation with Claudio Vernier, president of Associazione Piazza San Marco.- Explore the association's mission to enhance and protect the cultural and historical heritage of the Marciana area.- Learn about the origins of Associazione Piazza San Marco in 1992 and its vision to revitalize Piazza San Marco as a vibrant hub of city life.- Discover the efforts to offer visitors an authentic experience of this iconic square.- Gain insights into the challenges faced by Piazza San Marco and the strategies for its sustainable future.- Understand the association's role in safeguarding Venice's social and economic fabric and preserving its intangible heritage. Join us on Venice Talks for this compelling conversation—subscribe now to stay tuned for more episodes exploring the cultural heartbeat of Venice and beyond.CreditsHosted by Monica CesaratoProduced by Monica Cesarato, Sentire MediaGuest: Claudio Vernier from Associazione Piazza San MarcoThank you for listening to Venice Talks. Stay tuned for more episodes where we uncover the magic and mysteries of Venice!

Fluent Fiction - Italian: A Serenade in San Marco: Love Rekindled in the Heart of Venice Find the full episode transcript, vocabulary words, and more:fluentfiction.org/a-serenade-in-san-marco-love-rekindled-in-the-heart-of-venice Story Transcript:It: Il sole splendeva sopra Piazza San Marco.En: The sun was shining over Piazza San Marco.It: La folla era vivace.En: The crowd was lively.It: Le note della musica riempivano l'aria.En: The notes of the music filled the air.It: Lorenzo si trovava dietro il palco, stringendo il suo violino.En: Lorenzo stood behind the stage, clutching his violin.It: Aveva il cuore che batteva forte.En: His heart was pounding.It: "Posso farcela", mormorò a se stesso.En: "I can do this," he murmured to himself.It: Non ne era sicuro.En: He wasn't sure.It: Dall'altra parte della piazza, Giulia camminava senza meta.En: On the other side of the square, Giulia was walking aimlessly.It: Era venuta a Venezia per distrarsi.En: She had come to Venice to distract herself.It: Firenze le ricordava troppo il suo ex.En: Florence reminded her too much of her ex.It: Sentiva il bisogno di un nuovo inizio, ma non sapeva da dove cominciare.En: She felt the need for a fresh start, but she didn't know where to begin.It: Lorenzo guardò il pubblico.En: Lorenzo looked at the audience.It: Non era preparato.En: He wasn't prepared.It: Aveva paura.En: He was scared.It: Ma la musica era la sua vita.En: But music was his life.It: Doveva solo trovare il coraggio.En: He just had to find the courage.It: Respirò profondamente e salì sul palco.En: He took a deep breath and stepped onto the stage.It: Le prime note erano tremolanti, ma poi trovò il ritmo.En: The first notes were shaky, but then he found the rhythm.It: La musica fluisce.En: The music flowed.It: Giulia, attirata dalla melodia, si avvicinò al palco.En: Drawn by the melody, Giulia drew closer to the stage.It: Si fermò a guardare.En: She stopped to watch.It: La musica la colpiva.En: The music struck her.It: Sentiva ogni nota risuonare dentro di lei.En: She felt every note resonate within her.It: Lorenzo suonava con passione, dimenticando le sue paure.En: Lorenzo played with passion, forgetting his fears.It: La sua performance era magnifica.En: His performance was magnificent.It: Dopo il concerto, Lorenzo scese dal palco.En: After the concert, Lorenzo stepped off the stage.It: Sentiva un senso di sollievo.En: He felt a sense of relief.It: Giulia si avvicinò timidamente.En: Giulia approached timidly.It: "La tua musica è incredibile," disse.En: "Your music is incredible," she said.It: Lorenzo arrossì.En: Lorenzo blushed.It: "Grazie," rispose.En: "Thank you," he replied.It: Parlarono per un po'.En: They talked for a while.It: Scoprirono di avere molto in comune.En: They discovered they had a lot in common.It: Lorenzo raccontò a Giulia delle sue insicurezze.En: Lorenzo told Giulia about his insecurities.It: Giulia condivise la sua tristezza per la rottura.En: Giulia shared her sadness about the breakup.It: Entrambi erano vulnerabili, ma questo li avvicinò.En: Both were vulnerable, but this brought them closer.It: La conversazione fu lunga e profonda.En: The conversation was long and deep.It: "Grazie per aver ascoltato," disse Lorenzo.En: "Thank you for listening," said Lorenzo.It: "Grazie per aver parlato," rispose Giulia.En: "Thank you for talking," replied Giulia.It: Sentivano una connessione.En: They felt a connection.It: Per la prima volta da tanto, Lorenzo si sentiva fiducioso.En: For the first time in a long while, Lorenzo felt confident.It: Anche Giulia sentiva una piccola scintilla di speranza.En: Giulia also felt a small spark of hope.It: Continuarono a vedersi nei giorni successivi.En: They continued to see each other in the following days.It: Esplorarono Venezia insieme.En: They explored Venice together.It: Condivisero sogni e speranze.En: They shared dreams and hopes.It: Ogni giorno diventavano più legati.En: Each day they grew closer.It: Lorenzo trovò una nuova fonte di ispirazione per la sua musica.En: Lorenzo found a new source of inspiration for his music.It: Giulia iniziò a guarire.En: Giulia began to heal.It: Alla fine della settimana, entrambi erano cambiati.En: By the end of the week, both were changed.It: Si sentivano più forti.En: They felt stronger.It: Lorenzo non aveva più dubbi sulle sue capacità.En: Lorenzo no longer doubted his abilities.It: Giulia guardava al futuro con ottimismo.En: Giulia looked to the future with optimism.It: Piazza San Marco aveva fatto da cornice a una storia di rinascita.En: Piazza San Marco had set the stage for a story of rebirth.It: E così, quella estate a Venezia, due cuori si rincontrarono.En: And so, that summer in Venice, two hearts met again.It: La musica e l'amore furono i protagonisti.En: Music and love were the protagonists.It: E la piazza, con la sua bellezza senza tempo, testimoniò l'inizio di una nuova avventura.En: And the square, with its timeless beauty, witnessed the beginning of a new adventure. Vocabulary Words:the sun: il solethe crowd: la follalively: vivacethe notes: le notethe air: l'ariathe stage: il palcoclutching: stringendohis heart: il cuorepounding: batteva fortethe square: la piazzaaimlessly: senza metato distract: distrarsia fresh start: un nuovo iniziothe audience: il pubblicoscared: aveva paurathe courage: il coraggioto take a deep breath: respirare profondamentethe melody: la melodiashaky: tremolantithe rhythm: il ritmoto flow: fluireto resonate: risuonarepassion: la passionemagnificent: magnificato blush: arrossireto reply: rispondereinsecurities: le insicurezzea breakup: la rotturavulnerable: vulnerabilito heal: guarire

"Binaural recording at 3pm in Piazza San Marco, Venice - music from the famous cafes, bells chiming the hour, and hundreds, or more probably thousands of tourists." Recorded by Cities and Memory. 

Fluent Fiction - Italian: A Fainting Spell in Venice: Kindness in San Marco Square Find the full episode transcript, vocabulary words, and more:fluentfiction.org/a-fainting-spell-in-venice-kindness-in-san-marco-square Story Transcript:It: Il sole splende luminoso sulla Piazza San Marco a Venezia.En: The sun shines brightly on San Marco Square in Venice.It: La piazza è piena di gente.En: The square is full of people.It: C'è una grande festa.En: There is a big celebration.It: Giulia è lì con i suoi amici.En: Giulia is there with her friends.It: Indossa un vestito rosso.En: She is wearing a red dress.It: Sorride e ride.En: She smiles and laughs.It: Ammira le maschere colorate e le bancarelle piene di dolci.En: She admires the colorful masks and the stalls filled with sweets.It: Improvvisamente, Giulia sente la testa leggera.En: Suddenly, Giulia feels lightheaded.It: Il suono della musica si affievolisce.En: The sound of the music fades.It: Le luci intorno a lei diventano sfocate.En: The lights around her become blurry.It: "Cos'è questo?"En: "What's happening?"It: pensa.En: she thinks.It: Poi, tutto diventa buio.En: Then, everything goes dark.It: Giulia cade a terra, svenuta.En: Giulia falls to the ground, fainting.It: La piazza è in fermento.En: The square is in a commotion.It: Alcuni urlano, altri corrono verso di lei.En: Some are shouting, others are running towards her.It: Un uomo anziano si avvicina.En: An elderly man approaches.It: Si chiama Marco.En: His name is Marco.It: Ha un viso gentile e occhi preoccupati.En: He has a kind face and concerned eyes.It: "Sta bene signorina?"En: "Are you okay, miss?"It: chiede.En: he asks.It: Gli amici di Giulia sono spaventati.En: Giulia's friends are frightened.It: Cercano di svegliarla.En: They try to wake her up.It: Le parlano dolcemente ma lei non risponde.En: They speak to her gently, but she does not respond.It: Marco si inginocchia accanto a lei.En: Marco kneels beside her.It: "Lasciatemela aiutare," dice.En: "Let me help her," he says.It: Tira fuori una bottiglietta d'acqua fresca dallo zaino.En: He pulls out a small bottle of fresh water from his backpack.It: Bagna un fazzoletto e lo tampona sulla fronte di Giulia.En: He wets a handkerchief and dabs it on Giulia's forehead.It: Poco a poco, Giulia si riprende.En: Little by little, Giulia recovers.It: Apre gli occhi.En: She opens her eyes.It: Vede le facce preoccupate intorno a lei.En: She sees the worried faces around her.It: "Cosa è successo?"En: "What happened?"It: chiede debole.En: she asks weakly.It: "Hai avuto un malore," risponde Marco.En: "You had a fainting spell," Marco replies.It: "Respira profondamente e bevi un po' d'acqua."En: "Breathe deeply and drink some water."It: Giulia beve l'acqua e si sente meglio.En: Giulia drinks the water and feels better.It: La folla intorno a loro comincia a disperdersi.En: The crowd around them starts to disperse.It: I suoi amici sono sollevati.En: Her friends are relieved.It: Ringraziano Marco con gratitudine.En: They thank Marco gratefully.It: "Grazie mille, signore," dice Giulia, ancora un po' confusa ma riconoscente.En: "Thank you so much, sir," Giulia says, still a bit confused but appreciative.It: "Non c'è di che, giovane," risponde Marco sorridendo.En: "You're welcome, young lady," Marco replies, smiling.It: "Prenditi cura di te."En: "Take care of yourself."It: Giulia si alza lentamente con l'aiuto dei suoi amici.En: Giulia slowly gets up with the help of her friends.It: La festa continua intorno a loro, ma per Giulia ha un nuovo significato.En: The celebration continues around them, but for Giulia, it has a new meaning.It: Non dimenticherà mai la gentilezza di uno sconosciuto in una piazza affollata.En: She will never forget the kindness of a stranger in a crowded square.It: La fine.En: The end. Vocabulary Words:shines: splendebrightly: luminososquare: piazzacelebration: festadress: vestitolaughs: rideadmires: ammirastalls: bancarellesweet: dolcilightheaded: testa leggerafades: si affievolisceblurry: sfocatefainting: svenutacommotion: fermentoshouting: urlanorunning: corronoapproaches: si avvicinakind: gentileconcerned: preoccupatifrightened: spaventatikneels: si inginocchiahandkerchief: fazzolettodabs: tamponarecovers: si riprendebreathes: respirafainting spell: malorespell: malorerelieved: sollevatithanked: ringrazianogratefully: con gratitudine

Fluent Fiction - Italian: The Great Heist of Venice: Friends to the Rescue Find the full episode transcript, vocabulary words, and more:fluentfiction.org/the-great-heist-of-venice-friends-to-the-rescue Story Transcript:It: Il Carnevale di Venezia era in pieno svolgimento.En: The Carnival of Venice was in full swing.It: Maschere colorate e costumi scintillanti riempivano Piazza San Marco.En: Colorful masks and sparkling costumes filled St. Mark's Square.It: Luca, Giulia e Alessandro erano lì per divertirsi.En: Luca, Giulia, and Alessandro were there to have fun.It: "Guardate la Torre dell'Orologio!En: "Look at the Clock Tower!It: Che spettacolo!"En: What a spectacle!"It: esclamò Giulia, indicando l'antica torre.En: exclaimed Giulia, pointing to the ancient tower.It: Mentre passeggiavano, una voce annunziò dal palco, "Signore e signori, ecco l'Artefatto di San Marco!"En: As they strolled, a voice announced from the stage, "Ladies and gentlemen, here is the San Marco Artifact!"It: Un antico e prezioso gioiello brillava sotto le luci del palco.En: An ancient and precious jewel glittered under the stage lights.It: Tutti applaudivano e gridavano di gioia.En: Everyone applauded and cheered with joy.It: All'improvviso, le luci si spensero per pochi secondi.En: Suddenly, the lights went out for a few seconds.It: Quando si riaccesero, l'artefatto era sparito!En: When they came back on, the artifact was gone!It: Un sospiro di stupore attraversò la piazza.En: A gasp of astonishment swept through the square.It: "È stato rubato!"En: "It's been stolen!"It: gridò qualcuno.En: someone shouted.It: Luca guardò Giulia e Alessandro.En: Luca looked at Giulia and Alessandro.It: "Dobbiamo trovare il ladro!"En: "We need to find the thief!"It: disse deciso.En: he said decisively.It: I tre amici si misero subito in movimento.En: The three friends immediately sprang into action.It: Cominciarono a cercare indizi tra la folla.En: They began searching for clues among the crowd.It: Per terra, Luca trovò una piuma rossa.En: On the ground, Luca found a red feather.It: "Guarda," disse, "potrebbe essere dell'assassino."En: "Look," he said, "it might belong to the thief."It: Giulia rispose, "C'è una maschera rossa là!"En: Giulia responded, "There's a red mask over there!"It: Puntò il dito verso una figura che si muoveva veloce tra la folla.En: She pointed towards a figure moving quickly through the crowd.It: "Svelti!"En: "Quickly!"It: esclamò Alessandro, rincorrendo la figura.En: exclaimed Alessandro, chasing after the figure.It: La seguirono attraverso i vicoli stretti e bui di Venezia.En: They followed it through the narrow, dark alleys of Venice.It: La figura entrò in un vecchio palazzo.En: The figure entered an old palace.It: Luca, Giulia e Alessandro la seguirono.En: Luca, Giulia, and Alessandro followed.It: Il palazzo era silenzioso e buio.En: The palace was silent and dark.It: Ad un certo punto, videro una stanza illuminata.En: At one point, they saw a lit room.It: Entrarono e trovarono l'assassino intento a mettere l'artefatto in una borsa.En: They entered and found the thief placing the artifact into a bag.It: "Fermati!"En: "Stop!"It: gridò Luca.En: shouted Luca.It: Il ladro si voltò sorpreso.En: The thief turned, startled.It: Era mascherato, ma i suoi occhi erano pieni di paura.En: He was masked, but his eyes were full of fear.It: "Non potete fermarmi!"En: "You can't stop me!"It: gridò, ma Alessandro e Giulia lo bloccavano dalla porta.En: he shouted, but Alessandro and Giulia blocked him at the door.It: Luca avanzò lentamente.En: Luca advanced slowly.It: "Restituisci l'artefatto e nessuno si farà male," disse calmo ma fermo.En: "Return the artifact, and no one will get hurt," he said calmly but firmly.It: Il ladro capì che non aveva scampo.En: The thief realized he had no escape.It: Con un gesto lento, rimise l'artefatto sul tavolo.En: With a slow gesture, he put the artifact back on the table.It: Prese la maschera e la tolse.En: He took off his mask.It: Era un uomo giovane, con capelli neri e occhi verdi.En: He was a young man with black hair and green eyes.It: "Scusate," disse, "ma dovevo farlo."En: "I'm sorry," he said, "but I had to do it."It: La polizia veneziana arrivò poco dopo e arrestò l'uomo.En: The Venetian police arrived shortly after and arrested the man.It: La piazza si riempì di applausi quando l'artefatto fu riportato.En: The square filled with applause when the artifact was returned.It: Il Carnevale poteva continuare.En: The Carnival could continue.It: Luca, Giulia e Alessandro tornarono in piazza.En: Luca, Giulia, and Alessandro returned to the square.It: "Abbiamo salvato il Carnevale!"En: "We saved the Carnival!"It: disse Giulia felice.En: said Giulia happily.It: "E abbiamo vissuto un'avventura indimenticabile," aggiunse Alessandro.En: "And we had an unforgettable adventure," added Alessandro.It: "Siamo grandi amici," concluse Luca, abbracciandoli.En: "We are great friends," concluded Luca, hugging them.It: Il sole tramontava su Piazza San Marco, ma la festa continuava.En: The sun set over St. Mark's Square, but the celebration continued.It: Veniva suonata musica, si ballava e rideva.En: Music played, dancing and laughter ensued.It: E tra la folla, tre amici sorridevano, sapendo di aver fatto qualcosa di importante insieme.En: And among the crowd, three friends smiled, knowing they had done something important together. Vocabulary Words:carnival: carnevalestrolled: passeggiavanoartifact: artefattojewel: gioielloglittered: brillavaapplauded: applaudivanocheered: gridavanostolen: rubatothief: ladrodecisively: decisoclues: indizifeather: piumafigure: figuranarrow: strettidark: buipalace: palazzosilent: silenziosostartled: sorpresomasked: mascheratoescaped: scamporeturned: restituiscislowly: lentamenteyoung: giovanearrested: arrestòunforgettable: indimenticabileadvanced: avanzòenjoyed: divertirsigestured: gestoapology: scusate

Fluent Fiction - Italian: Venetian Dreams: A Magical Night at Piazza San Marco Find the full episode transcript, vocabulary words, and more:fluentfiction.org/venetian-dreams-a-magical-night-at-piazza-san-marco Story Transcript:It: Nel cuore di Venezia, la Piazza San Marco brilla di luci e suoni.En: In the heart of Venice, Piazza San Marco shines with lights and sounds.It: Marco e Giulia sono al centro della piazza, circondati da colombe.En: Marco and Giulia are at the center of the square, surrounded by doves.It: Il sole tramonta e i turisti fanno foto.En: The sun is setting, and tourists are taking photos.It: "Marco, dobbiamo trovare i costumi," dice Giulia.En: "Marco, we need to find the costumes," says Giulia.It: Lei è preoccupata per lo spettacolo della scuola.En: She is worried about the school play.It: Marco sorride.En: Marco smiles.It: "Non ti preoccupare, Giulia."En: "Don't worry, Giulia."It: Marco guida Giulia attraverso le strette vie di Venezia.En: Marco leads Giulia through the narrow streets of Venice.It: Camminano e chiacchierano.En: They walk and chat.It: Parlano del loro recital di teatro.En: They talk about their theater recital.It: Giulia interpreta la Regina e Marco è il Re.En: Giulia is playing the Queen, and Marco is the King.It: Arrivano in una piccola bottega.En: They arrive at a small shop.It: La vetrina è piena di abiti colorati.En: The window is full of colorful clothes.It: Entrano e salutano il proprietario, un vecchio signore con il sorriso gentile.En: They enter and greet the owner, an old man with a gentle smile.It: "Posso aiutarvi?"En: "Can I help you?"It: "Cerchiamo costumi per lo spettacolo della scuola," risponde Marco.En: "We're looking for costumes for the school play," answers Marco.It: Il proprietario li guida verso il retro del negozio.En: The owner guides them to the back of the store.It: Giulia guarda gli abiti con occhi sognanti.En: Giulia looks at the clothes with dreamy eyes.It: Trova un vestito elegante e scintillante.En: She finds an elegant and sparkling dress.It: Marco sceglie un mantello regale e una corona dorata.En: Marco chooses a royal cloak and a golden crown.It: Provano i costumi e si guardano nello specchio.En: They try on the costumes and look at themselves in the mirror.It: Ridono.En: They laugh.It: "Tutto sembra perfetto," dice il proprietario.En: "Everything looks perfect," says the owner.It: "Buona fortuna per lo spettacolo!"En: "Good luck with the show!"It: Giulia e Marco tornano nella piazza.En: Giulia and Marco return to the square.It: Passeggiano vicino al canale.En: They walk near the canal.It: La città è magica di notte.En: The city is magical at night.It: Le luci riflettono sull'acqua.En: The lights reflect on the water.It: Si siedono su una panchina e parlano.En: They sit on a bench and talk.It: "Sono nervosa," confessa Giulia.En: "I'm nervous," Giulia confesses.It: Marco prende la sua mano.En: Marco takes her hand.It: "Andrà tutto bene.En: "Everything will be fine.It: Saremo fantastici."En: We will be amazing."It: Il giorno dello spettacolo la scuola è piena di gente.En: On the day of the show, the school is full of people.It: I genitori e gli amici sono presenti.En: Parents and friends are present.It: Marco e Giulia indossano i loro costumi.En: Marco and Giulia wear their costumes.It: Si guardano negli occhi e si incoraggiano.En: They look into each other's eyes and encourage each other.It: Il sipario si alza.En: The curtain rises.It: Marco e Giulia recitano con passione.En: Marco and Giulia perform with passion.It: La platea è rapita dalla loro interpretazione.En: The audience is captivated by their performance.It: Applausi echeggiano alla fine della loro scena.En: Applause echoes at the end of their scene.It: Dopo lo spettacolo, i due amici sono felici e sollevati.En: After the show, the two friends are happy and relieved.It: "Abbiamo fatto un buon lavoro," dice Marco.En: "We did a good job," says Marco.It: "E tu sei stata incredibile," aggiunge guardando Giulia con affetto.En: "And you were incredible," he adds, looking at Giulia affectionately.It: Un altro tramonto incanta Piazza San Marco.En: Another sunset enchants Piazza San Marco.It: Marco e Giulia si promettono di ricordare sempre questo momento magico.En: Marco and Giulia promise to always remember this magical moment.It: Le colombe volano, il campanile suona, e la vita continua con nuove avventure.En: The doves fly, the bell tower chimes, and life continues with new adventures.It: Fine.En: The end. Vocabulary Words:heart: cuoresquare: piazzadoves: colombeset: tramontatourists: turisticostumes: costumiworried: preoccupatanarrow: stretterecital: recitalroyal: regalecloak: mantellocrown: coronadress: vestitodreamy: sognantiwindows: vetrinaelegant: elegantesparkling: scintillantebench: panchinanervous: nervosaencourage: incoraggianocurtain: siparioaudience: plateacaptivated: rapitaapplause: applausiechoes: echeggianoenchants: incantabell tower: campanilechimes: suonagentle: gentileaffectionately: con affetto

Fluent Fiction - Italian: Sketching Masterpieces: Students Capture Piazza San Marco's Magic Find the full episode transcript, vocabulary words, and more:fluentfiction.org/sketching-masterpieces-students-capture-piazza-san-marcos-magic Story Transcript:It: Il sole splendeva brillante sulla magnifica Piazza San Marco a Venezia.En: The sun shone brightly over the magnificent Piazza San Marco in Venice.It: Luca, Giulia e Matteo erano entusiasti.En: Luca, Giulia, and Matteo were excited.It: Era il loro progetto di fine anno.En: It was their end-of-year project.It: Dovevano disegnare e dipingere un monumento italiano.En: They had to draw and paint an Italian monument.It: "Piazza San Marco è perfetta!"En: "Piazza San Marco is perfect!"It: disse Giulia con un sorriso.En: said Giulia with a smile.It: Luca annuì.En: Luca nodded.It: "Sì, è stupenda.En: "Yes, it's stunning.It: Possiamo disegnare la Basilica di San Marco."En: We can draw St. Mark's Basilica."It: Matteo osservava attentamente.En: Matteo observed carefully.It: "Guardate i dettagli!En: "Look at the details!It: Tante decorazioni e colori.En: So many decorations and colors.It: Sarà una sfida."En: It will be a challenge."It: Si sedettero sui loro sgabelli.En: They sat on their stools.It: Ogni uno prese il proprio quaderno e le matite.En: Each one took out their sketchbook and pencils.It: Le colombe volavano basso mentre i turisti si aggiravano per la piazza.En: The pigeons flew low as tourists wandered around the square.It: Luca iniziò a disegnare la facciata della Basilica.En: Luca began to draw the facade of the Basilica.It: Disegnava con mano ferma e sicura.En: He drew with a steady and confident hand.It: Giulia concentrata sugli archi gotici mentre Matteo si dedicava al campanile di San Marco.En: Giulia focused on the Gothic arches while Matteo devoted himself to St. Mark's Campanile.It: Passavano le ore.En: The hours passed.It: Il sole cominciava a scendere.En: The sun began to set.It: I tre studenti lavoravano duramente.En: The three students worked hard.It: Ogni linea, ogni ombra era importante.En: Every line, every shadow was important.It: "Aiuto, ho sbagliato!"En: "Help, I made a mistake!"It: disse Matteo all'improvviso.En: said Matteo suddenly.It: La sua mano tremava.En: His hand shook.It: Giulia gli sorrise.En: Giulia smiled at him.It: "Non preoccuparti, Matteo.En: "Don't worry, Matteo.It: Guarda qui.En: Look here.It: Puoi correggere con questa gomma e riprovare."En: You can correct it with this eraser and try again."It: Luca guardava attentamente.En: Luca watched carefully.It: "Sì, Matteo, devi rilassarti.En: "Yes, Matteo, you need to relax.It: Respira profondamente.En: Take a deep breath.It: Ce la farai."En: You can do it."It: Matteo fece un respiro profondo.En: Matteo took a deep breath.It: Corresse il suo errore.En: He fixed his mistake.It: Con più calma, riprese a disegnare.En: With more calm, he resumed drawing.It: Finalmente, i tre studenti terminarono i loro schizzi.En: Finally, the three students finished their sketches.It: Ogni disegno aveva un tocco unico.En: Each drawing had a unique touch.It: "Guardate i nostri schizzi!"En: "Look at our sketches!"It: esclamò Giulia con orgoglio.En: exclaimed Giulia proudly.It: "Abbiamo fatto un ottimo lavoro."En: "We've done a great job."It: Il giorno seguente, portarono i loro disegni in classe.En: The next day, they brought their drawings to class.It: La professoressa osservò attentamente.En: The teacher examined them closely.It: "Siete stati bravissimi.En: "You have done beautifully.It: La Basilica di San Marco è viva nei vostri disegni."En: St. Mark's Basilica comes to life in your drawings."It: Luca, Giulia e Matteo si sentirono fieri.En: Luca, Giulia, and Matteo felt proud.It: La loro passione per l'arte risplendeva nei loro lavori.En: Their passion for art shone through in their works.It: Il loro progetto di fine anno era completato con successo.En: Their end-of-year project was successfully completed.It: Camminando verso il tramonto, i tre amici riflettevano sulla giornata.En: Walking towards the sunset, the three friends reflected on the day.It: Avevano imparato non solo a disegnare, ma anche a collaborare e sostenersi a vicenda.En: They had learned not only to draw but also to collaborate and support each other.It: Piazza San Marco rimase nei loro cuori, un simbolo di amicizia e creatività.En: Piazza San Marco stayed in their hearts, a symbol of friendship and creativity. Vocabulary Words:brightly: brillantemagnificent: magnificaproject: progettoto draw: disegnareto paint: dipingeresmile: sorrisostunning: stupendadetails: dettaglidecorations: decorazionistools: sgabellisketchbook: quadernopencils: matitepigeons: colombesketches: schizziconfident: sicuraGothic arches: archi goticiCampanile: campanileshadow: ombrato correct: correggereeraser: gommato relax: rilassartiproudly: con orgoglioteacher: professoressaexamined: osservòpassion: passioneto shine: risplendevasuccessfully: con successoto reflect: riflettevanoto support: sostenersisymbol: simbolo

The Brent & Austen Show is live from 1937 Spirits & Eatery in San Marco. The Jacksonville Jaguars begin their final week of OTA's. Trevor Lawrence back on the field and meets with the media after practice. Brandon McManus released by the Washington Commanders on Sunday and his lawyers continue to deny the allegations stemming from the Jaguars plane trip to London last fall. Caitlin Clark continues to struggle with her worst outing in the WNBA. The Florida Gators softball and baseball team makes it to Monday. Charley Hull continues to get attention in the women's golf game.

The Brent & Austen Show is live from 1937 Spirits & Eatery in San Marco. The Jacksonville Jaguars begin their final week of OTA's. Trevor Lawrence back on the field and meets with the media after practice. Brandon McManus released by the Washington Commanders on Sunday and his lawyers continue to deny the allegations stemming from the Jaguars plane trip to London last fall. Caitlin Clark continues to struggle with her worst outing in the WNBA. The Florida Gators softball and baseball team makes it to Monday. Charley Hull continues to get attention in the women's golf game.

The Brent & Austen Show is live from 1937 Spirits & Eatery in San Marco. The Jacksonville Jaguars begin their final week of OTA's. Trevor Lawrence back on the field and meets with the media after practice. Brandon McManus released by the Washington Commanders on Sunday and his lawyers continue to deny the allegations stemming from the Jaguars plane trip to London last fall. Caitlin Clark continues to struggle with her worst outing in the WNBA. The Florida Gators softball and baseball team makes it to Monday. Charley Hull continues to get attention in the women's golf game.

Fluent Fiction - Italian: Crisis in Piazza San Marco: A Tale of Friendship and Survival Find the full episode transcript, vocabulary words, and more:fluentfiction.org/crisis-in-piazza-san-marco-a-tale-of-friendship-and-survival Story Transcript:It: In una giornata luminosa, il sole splendeva alto nel cielo sopra Piazza San Marco a Venezia.En: On a bright day, the sun shone high in the sky above Piazza San Marco in Venice.It: Turisti da ogni parte del mondo passeggiavano, scattavano foto e ammiravano l'architettura intorno a loro.En: Tourists from all over the world were strolling, taking pictures, and admiring the architecture around them.It: Tra questi turisti c'erano Luca, Giulia, e Francesca, tre amici di vecchia data.En: Among these tourists were Luca, Giulia, and Francesca, three longtime friends.It: "Mamma mia, che bella giornata!"En: "My goodness, what a beautiful day!"It: esclamò Giulia, con un sorriso radioso sul volto.En: exclaimed Giulia, with a radiant smile on her face.It: "Sì, davvero un posto stupendo," rispose Luca.En: "Yes, truly a wonderful place," replied Luca.It: Ma mentre parlava, il suo viso si contorse di colpo.En: But as he spoke, his face suddenly contorted.It: "Non sto bene.En: "I don't feel well.It: Non riesco a respirare bene."En: I can't breathe properly."It: Francesca si voltò immediatamente verso Luca.En: Francesca immediately turned toward Luca.It: "Hai portato l'inalatore per l'asma?"En: "Did you bring your asthma inhaler?"It: chiese con preoccupazione.En: she asked with concern.It: Luca frugò freneticamente nel suo zaino, ma non trovò niente.En: Luca frantically rummaged through his backpack but found nothing.It: Le sue mani tremavano e il respiro si faceva sempre più corto.En: His hands trembled and his breath became increasingly labored.It: Francesca guardò Giulia, e senza dire una parola, iniziarono a muoversi rapidamente.En: Francesca looked at Giulia, and without saying a word, they began to move quickly.It: Doveva esserci aiuto da qualche parte.En: There had to be help somewhere.It: Corsero verso un bar nelle vicinanze.En: They ran towards a nearby café.It: "Per favore, aiutateci!"En: "Please, help us!"It: gridò Giulia.En: cried Giulia.It: "Il nostro amico ha un attacco d'asma!"En: "Our friend is having an asthma attack!"It: Il barista, un uomo anziano con gli occhiali, guardò Luca e poi si girò verso la cassa.En: The bartender, an elderly man with glasses, looked at Luca and then turned towards the register.It: Estrasse un piccolo inalatore da un cassetto.En: He pulled a small inhaler from a drawer.It: "Prendete, prego.En: "Take it, please.It: È il mio, ma serve più a lui ora."En: It's mine, but he needs it more now."It: Luca afferrò l'inalatore e lo usò subito.En: Luca grabbed the inhaler and used it immediately.It: Dopo pochi momenti, il suo respiro iniziò a normalizzarsi.En: After a few moments, his breathing began to return to normal.It: "Grazie, grazie mille," disse, con il viso pieno di sollievo e gratitudine.En: "Thank you, thank you so much," he said, his face full of relief and gratitude.It: Francesca e Giulia sospirarono di sollievo.En: Francesca and Giulia sighed with relief.It: "Non avremmo mai immaginato che succedesse una cosa del genere oggi," disse Francesca.En: "We never imagined something like this would happen today," said Francesca.It: "Sì, ma ora va tutto bene," aggiunse Giulia.En: "Yes, but now everything is alright," added Giulia.It: "Buona che c'eravamo vicini."En: "Good thing we were close by."It: Il barista sorrise.En: The bartender smiled.It: "Piazza San Marco è più bella con gli amici che si aiutano."En: "Piazza San Marco is more beautiful with friends who help each other."It: E così, con Luca che si sentiva meglio, i tre amici poterono continuare la loro giornata.En: And so, with Luca feeling better, the three friends were able to continue their day.It: Ammirarono ancora le bellezze della piazza, ma con una nuova consapevolezza dell'importanza di stare insieme e di aiutarsi nei momenti difficili.En: They admired the beauties of the square once more, but with a new awareness of the importance of staying together and helping each other in difficult times.It: Essi tornarono a casa con un'esperienza che avrebbe reso il loro legame ancora più forte.En: They went home with an experience that would strengthen their bond even more.It: Fine.En: The End. Vocabulary Words:bright: luminosastrolling: passeggiavanoadmiring: ammiravanoarchitecture: architetturaradiant: radiosocontorted: contorsetrembled: tremavanolaborer: cortorummaged: frugòfrantically: freneticamenteinhaler: inalatoreconcern: preoccupazionemoved quickly: muoversi rapidamentedrawer: cassettoface full of relief: viso pieno di sollievograteful: gratitutinesigh of relief: sospirò di sollievobond: legamestrengthen: reso più fortebeauties: bellezzetogether: insiemehelping: aiutarsifriends: amicicontinued: continuareexperienced: esperienzagrabbed: afferròelderly: anzianoaware: consapevolezzapales: profileimmediately: subito

Fluent Fiction - Italian: The Great Red Hat Chase: Marco's Piazza San Marco Adventure Find the full episode transcript, vocabulary words, and more:fluentfiction.org/the-great-red-hat-chase-marcos-piazza-san-marco-adventure Story Transcript:It: Nella magica Piazza San Marco, il sole splendeva alto.En: In the magical Piazza San Marco, the sun shone high.It: Marco, un giovane turista, passeggiava felicemente.En: Marco, a young tourist, walked happily.It: Aveva un bel cappello rosso che amava molto.En: He had a beautiful red hat that he loved very much.It: Ma, in un momento di distrazione, il vento portò via il cappello.En: But in a moment of distraction, the wind carried the hat away.It: "Oh no!En: "Oh no!"It: ", esclamò Marco.En: exclaimed Marco.It: Senza pensarci troppo, iniziò a cercarlo ovunque.En: Without overthinking, he started looking for it everywhere.It: Tra i tanti piccioni che svolazzavano, uno catturò l'attenzione di Marco.En: Among the many pigeons flying around, one caught Marco's attention.It: Quel piccione aveva qualcosa di rosso in testa.En: That pigeon had something red on its head.It: Marco pensò fosse il suo cappello.En: Marco thought it might be his hat.It: "Lì!En: "There!It: ", gridò tra sé e sé, e iniziò a correre verso l'uccello.En: ", he shouted to himself and began running toward the bird.It: Il piccione, spaventato, volò via.En: The pigeon, frightened, flew away.It: Marco non si arrese.En: Marco did not give up.It: Corse dietro al piccione, zigzagando tra i turisti sorpresi.En: He ran after the pigeon, zigzagging among the surprised tourists.It: Alcuni ridevano, altri scattavano foto, trovando la scena assai buffa.En: Some laughed, others took photos, finding the scene quite amusing.It: "Torna qui!En: "Come back here!"It: ", gridava Marco, ma il piccione continuava a volare via.En: Marco shouted, but the pigeon kept flying away.It: Dopo vari tentativi, Marco si fermò, esausto.En: After various attempts, Marco stopped, exhausted.It: Si sedette su una panchina, tristemente.En: He sat on a bench, sadly.It: Guardò il cielo, perso nei pensieri, quando sentì una voce alle sue spalle.En: He looked at the sky, lost in thought, when he heard a voice behind him.It: "Scusa, hai perso questo?"En: "Excuse me, did you lose this?"It: Era una bambina con un cappello rosso in mano: il cappello di Marco!En: It was a little girl holding a red hat: Marco's hat!It: Marco si alzò sorridendo.En: Marco stood up, smiling.It: "Grazie mille!En: "Thank you so much!It: L'ho perso mentre passeggiavo."En: I lost it while I was walking."It: La bambina sorrise indietro.En: The girl smiled back.It: "L'ho trovato vicino al campanile.En: "I found it near the bell tower.It: Pensavo fosse importante."En: I thought it might be important."It: "Lo è!En: "It is!"It: ", disse Marco con gratitudine.En: said Marco gratefully.It: Indossò il cappello e sentì un senso di sollievo.En: He put on the hat and felt a sense of relief.It: Ringraziò la bambina di nuovo e osservò la Piazza San Marco, riconoscente per il lieto fine della sua imbarazzante avventura.En: He thanked the girl again and observed Piazza San Marco, grateful for the happy ending to his embarrassing adventure.It: E così, Marco tornò a passeggiare, ma questa volta con il cappello ben saldo in testa, promettendo di non perderlo mai più.En: And so, Marco went back to strolling, but this time with the hat securely on his head, promising never to lose it again. Vocabulary Words:magical: magicashone: splendevatourist: turistahappily: felicementebeautiful: beldistraction: distrazionecarried: portòexclaimed: esclamòoverthinking: pensarci troppoeverywhere: ovunquepigeons: piccioniattention: attenzionefrightened: spaventatogive up: arresizigzagging: zigzagandosurprised: sorpresilaughed: ridevanoamusing: buffaattempts: tentativiexhausted: esaustobench: panchinalost in thought: perso nei pensierivoice: vocebell tower: campanileimportant: importantegratefully: con gratitudinerelief: sollievostrolling: passeggiaresecurely: saldopromising: promettendo

Fluent Fiction - Italian: Splattering Sauce and Elegance Wars: A Venice Spaghetti Showdown Find the full episode transcript, vocabulary words, and more:fluentfiction.org/splattering-sauce-and-elegance-wars-a-venice-spaghetti-showdown Story Transcript:It: In quella piazzetta affollata di Venezia, dove il piccione vivace rinfresca il fastidio del turista, stava accadendo qualcosa di curioso. Una cerimonia del tutto inusuale. No, non una vera e propria cerimonia con preti e sposi, ma un po' lo sembrava...Una lotta era in atto, una lotta contro gli spaghetti, la salsa e la grazia.En: In that crowded little square of Venice, where the lively pigeon refreshes the annoyance of the tourist, something curious was happening. A totally unusual ceremony. No, not a real ceremony with priests and brides, but it seemed like it... A battle was underway, a battle against spaghetti, sauce, and grace.It: In un angolo di Piazza San Marco, la perla di Venezia, un tavolino era occupato da tre allegri amici: Luca, Sofia e Matteo. Piatti colmi di spaghetti con salsa di pomodoro li aspettavano e sembravano ribollire all'idea di essere mangiati in un solo boccone. La sfida era chi riusciva a mangiare con più eleganza, evitando di schizzare la salsa ovunque.En: In a corner of Piazza San Marco, the pearl of Venice, a small table was occupied by three merry friends: Luca, Sofia, and Matteo. Plates full of spaghetti with tomato sauce awaited them and seemed to be simmering at the thought of being eaten in one bite. The challenge was who could eat with more elegance, avoiding splattering the sauce everywhere.It: Luca era il primo a cominciare. Con sicurezza afferrò due spaghetti con la forchetta e tentò di arrotolarli. Ma, oh cielo! Gli spaghetti decisero di ribellarsi. Uno schizzo di salsa volò, mancando per un pelo la maglietta bianca di Luca.En: Luca was the first to start. With confidence, he grabbed two strands of spaghetti with his fork and tried to twirl them. But, oh my! The spaghetti decided to rebel. A splash of sauce flew, narrowly missing Luca's white shirt.It: Fra risate, arrivò il turno di Sofia. Cercò di fare meglio, ma presto si trovò a combattere con uno spaghetti ribelle che l'ha colpita proprio sul naso. I suoi occhi sgranati fecero ridere tutta la piazza, e si può dire, lei stessa non potè fare a meno di unirsi alle risate.En: Amidst laughter, it was Sofia's turn. She tried to do better, but soon found herself battling with a rebellious strand of spaghetti that hit her right on the nose. Her wide eyes made the whole square laugh, and it can be said that she couldn't help but laugh along.It: Matteo fu l'ultimo. Aveva assistito ai tentativi falliti dei suoi amici, e si sentiva un po' nervoso. Ma non poteva tirarsi indietro. Finse sicurezza, afferrò la forchetta e annunciò: "Vedrete come si fa!". Arrotolò addirittura tre spaghetti alla volta e se ne impadronì con destrezza. La salsa rimase nel piatto, gli spaghetti rimasero intrecciati e Matteo rispettò la regola principale della sfida: Nessuna salsa schizzata.En: Matteo was the last one. He had witnessed his friends' failed attempts and felt a bit nervous. But he couldn't back down. Pretending confidence, he grabbed the fork and declared, "You'll see how it's done!" He even managed to twirl three strands of spaghetti at once with skill. The sauce stayed in the plate, the spaghetti remained intertwined, and Matteo respected the main rule of the challenge: No sauce splattered.It: I presenti applaudirono con entusiasmo. Fra risate e chiacchiere, il pomeriggio a Venezia passò in fretta. Luca, Sofia e Matteo capirono una cosa fondamentale quel giorno. Non importa quanto ridere, quanto imbarazzarsi, la cosa più importante era godersi quel momento insieme, nella bellezza di Piazza San Marco, sotto il cielo di Venezia. E chissà, forse da quel giorno, i piccioni di San Marco avrebbero cominciato a temere non solo i turisti, ma anche gli spaghetti ribelli.En: The onlookers applauded enthusiastically. Amidst laughter and chatter, the afternoon in Venice passed quickly. Luca, Sofia, and Matteo understood one fundamental thing that day. No matter how much they laughed, how embarrassing it was, the most important thing was to enjoy that moment together, in the beauty of Piazza San Marco, under the sky of Venice. And who knows, perhaps from that day on, the pigeons of San Marco would have started to fear not only the tourists but also the rebellious spaghetti. Vocabulary Words:crowded: affollatasquare: piazzaVenice: Venezialively: vivacepigeon: piccioneannoyance: fastidiotourist: turistacurious: curiosoceremony: cerimoniaunusual: inusualepriests: pretibrides: sposibattle: lottaspaghetti: spaghettisauce: salsagrace: graziapearl: perlaplates: piattiawaited: aspettavanosimmering: ribollirethought: ideaeaten: mangiatibite: bocconechallenge: sfidaelegance: eleganzasplattering: schizzarestrand: strandhit: colpitawide: larga

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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.   ​ 

Venice/Venedig = Venezia Spendieren Sie einen Cafè (1€)? Donate a coffee (1€)? https://ko-fi.com/italianoLivello B1/B2Informazioni sulla storia e sulle bellezze della Serenissima Buongiorno cari amici e amanti dell'italiano e benvenuti al nuovo episodio. Oggi parliamo di una città italiana conosciutissima e visitatissima, una delle città più belle del mondo o forse la città più bella del mondo: Venezia.Cominciamo con la Basilica di San Marco. La prima cosa che notiamo in mezzo a tutti gli archi, marmi, mosaici, è nel mezzo il leone alato in mezzo ad un cielo blu pieno di stelle. Il leone mette una zampa sul Vangelo, simbolo di San Marco e della città.La struttura della chiesa è tutta in mattoni che sono stati poi rivestiti nel tempo con marmi e mosaici. Entriamo nella basilica e troviamo un soffitto ricoperto da mosaici dorati, milioni di tessere che formano bellissimi disegni.La pianta della chiesa è a croce greca perché Venezia è stata la regina del Mediterraneo e tutto qui ha un sapore ancora orientale. Nel mezzo della basilica c'è una grande croce tridimensionale piena di piccole luci, lumini e ora c'è la luce elettrica, ma un tempo la chiesa era illuminata solo da queste piccole candele messe in tutti i punti della chiesa che rendevano l'atmosfera molto intima nonostante la chiesa sia molto grande....The full transcript of this Episode is available via "Luisa's learn Italian Premium", Premium is no subscription and does not incur any recurring fees. You can just shop for the materials you need or want and shop per piece. Prices start at 0.20 Cent (i. e. Eurocent). - das komplette Transcript / die Show-Notes zu allen Episoden sind über Luisa's Podcast Premium verfügbar. Den Shop mit allen Materialien zum Podcast finden Sie unterhttps://premium.il-tedesco.itLuisa's Podcast Premium ist kein Abo - sie erhalten das jeweilige Transscript/die Shownotes sowie zu den Grammatik Episoden Übungen die Sie "pro Stück" bezahlen (ab 25ct). https://premium.il-tedesco.itMehr info unter www.il-tedesco.it bzw. https://www.il-tedesco.it/premiumMore information on www.il-tedesco.it or via my shop https://www.il-tedesco.it/premium

Private Water Taxis: Navigating Venice's Waterways in StyleVenice is comprised of an intricate network of canals. For a truly luxurious experience, opt for a private water taxi to whisk you away to your destination. Glide through the shimmering waters of the Grand Canal, passing historic palaces and ornate bridges, as your knowledgeable guide tells the tales of Venice's storied past! Private water taxis typically cost 70-80 Euros and are well worth the ride.Hotel ai Cavalieri di Venezia: A Luxurious RetreatUnwind in style at the Hotel ai Cavalieri di Venezia, a luxurious boutique hotel nestled in the heart of Venice's historic center. Indulge in elegant accommodations adorned with sumptuous furnishings and modern amenities, and savor exquisite Venetian cuisine at the Hotel's gourmet restaurant. With its impeccable service and prime location, Hotel ai Cavalieri di Venezia offers the perfect base for exploring all that Venice has to offer.Mask Stores: Unveiling Venice's Carnival TraditionStroll through Venice's enchanting mask stores, which hark back to the city's famous Carnival celebrations. In addition, you can explore the narrow alleys of this "City of Mazes" to discover hidden gems where artisans craft exquisite masks using traditional techniques passed down through generations. Whether you're seeking a whimsical souvenir or a stunning piece of wearable art, Venice's mask stores offer something for every taste. Shopping: A Venetian Retail TherapyIndulge your inner shopaholic as you meander through Venice's charming streets lined with boutiques and artisanal shops. From high-end fashion boutiques showcasing Italian luxury brands to quaint artisan workshops selling handcrafted goods, Venice offers a shopping experience like no other. Treat yourself to Venetian lace, Murano glass jewelry, or delectable Venetian delicacies. Venice is the perfect place to find a souvenir. This way, you can remember Venice long after you've returned home. My favorite souvenirs from Venice were a porcelain blue and gold mini mask I bought the first time I visited and a matching red and gold leather crossbody purse and wallet, which I was gifted by family members who visited Venice.Basilica di San Marco and Doge's Palace Tour: A Glimpse into Venice's Glorious PastStep back in time as you explore the iconic landmarks of Venice, including the magnificent Basilica di San Marco and the imposing Doge's Palace. Marvel at the intricate mosaics adorning the basilica's façade, depicting scenes from biblical tales and Venetian history. Then, venture inside to admire the opulent interior adorned with shimmering gold leaf and precious marbles. Next, embark on a guided tour of the Doge's Palace, once the seat of Venetian political power, and immerse yourself in the grandeur of its ornate chambers and lavish frescoes.Private Gondola Rides: Romance on Venice's CanalsNo trip to Venice would be complete without a romantic gondola ride along its tranquil waterways. Snuggle up with your loved one as your gondolier serenades you with melodic Italian ballads, offering a unique perspective of Venice's iconic landmarks bathed in the golden light of dusk. Opt for a private gondola ride for an intimate experience that promises to create cherished memories that will last a lifetime.Theater La Fenice: A Cultural ExtravaganzaImmerse yourself in Venice's vibrant cultural scene with a visit to the illustrious Teatro La Fenice. Renowned for its spectacular opera performances and classical concerts, La Fenice promises an unforgettable evening of artistic excellence. Marvel at the theater's opulent interiors adorned with gilded stucco work and intricate frescoes as you enjoy a captivating performance by world-class artists. If you don't have time to see a show but still want to visit the gorgeous Teatro, you can take an audio tour.Concerts at Vivaldi's Four Seasons: Musical Magic in VeniceFor music aficionados, a visit to Vivaldi's Four Seasons promises an unforgettable auditory experience. Situated in the heart of Venice, this historic venue hosts a series of concerts showcasing the timeless works of the legendary composer Antonio Vivaldi. Lose yourself in the sublime melodies of Vivaldi's masterpieces as you bask in the intimate ambiance of this historic concert hall.Murano Glass Factory Tours: A Fascinating Artisanal TraditionEmbark on a journey to the nearby island of Murano to discover the centuries-old tradition of Murano glassmaking. Witness skilled artisans at work as they transform molten glass into exquisite works of art using age-old techniques passed down through generations. Marvel at the dazzling array of glass sculptures, chandeliers, and jewelry on display, and perhaps even purchase a one-of-a-kind piece to adorn your home.A Day Trip to The Colorful Fishing Village of Burano: A Photographic ParadiseEscape the crowds of Venice and venture off the beaten path to the picturesque island of Burano. Famous for its vibrant pastel-colored houses and intricate lacework, Burano offers a tranquil retreat from the hustle and bustle of the city. Explore the quaint streets lined with charming cafes and artisanal shops, and don't forget to capture the postcard-perfect scenes that abound at every turn.Venice captivates the imagination with its timeless beauty, rich history, and vibrant culture. Whether you're gliding along its tranquil waterways in a private gondola, exploring its iconic landmarks, or immersing yourself in its rich art and music scene, Venice promises a truly magical experience that will linger in your memory long after you've bid arrivederci to this enchanting city.

The Victimae Paschali is an ancient sequence dating to the 11th century. It is an option to sing it or recite it during the Easter Octave. Fr. Eric Nicolai dives into this profound and ancient sonnet about the discovery of the empty tomb. Preached at Lyncroft Centre in Toronto, on April 1, 2024. Music: Chant of the Easter Sequence by Sisters of Aquinas Victimae Paschali Laudes. Thumbnail: Convento di San Marco, Resurrection and Women at the Tomb, fresco, Fra Angelico (ca 1400-1455). Photo taken by Catherine Pawluch.

City Council President Ron Salem talks with us about the trial of two former JEA executives accused of trying to enrich themselves by selling the utility. Then we talk with residents of the San Marco area about a proposed self-storage business and the effect on the community. Plus, get a sneak peek into the Mandarin Art Festival.

Full Text of ReadingsFirst Sunday of Lent Lectionary: 23The Saint of the day is Blessed John of FiesoleBlessed John of Fiesole's Story The patron of Christian artists was born around 1400 in a village overlooking Florence. He took up painting as a young boy and studied under the watchful eye of a local painting master. He joined the Dominicans at about age 20, taking the name Fra Giovanni. He eventually came to be known as Fra Angelico, perhaps a tribute to his own angelic qualities or maybe the devotional tone of his works. He continued to study painting and perfect his own techniques, which included broad-brush strokes, vivid colors and generous, lifelike figures. Michelangelo once said of Fra Angelico: “One has to believe that this good monk has visited paradise and been allowed to choose his models there.” Whatever his subject matter, Fra Angelico sought to generate feelings of religious devotion in response to his paintings. Among his most famous works are the Annunciation and Descent from the Cross as well as frescoes in the monastery of San Marco in Florence. He also served in leadership positions within the Dominican Order. At one point, Pope Eugenius approached him about serving as archbishop of Florence. Fra Angelico declined, preferring a simpler life. He died in 1455. Reflection The work of artists adds a wonderful dimension to life. Without art our lives would be much depleted. Let us pray for artists today, especially those who can lift our hearts and minds to God. Blessed John of Fiesole is the Patron Saint of: Christian Artists Saint of the Day, Copyright Franciscan Media