la Vigna di Angelioca

The Théâtre des Champs-Élysées and Alpha extend their series of recordings of the Mozart operas conducted by Jérémie Rhorer. After Die Entführung aus dem Serail, which received excellent international reviews including FFFF in Télérama), here now is La clemenza di Tito.Gilles Macassar wrote in Télérama late in 2014 of divinatory conducting,a cast close to the ideal . . . The last opera Mozart composed, long undervalued, closes the chapter of the Baroque and looks into the future,blazing a new trail that looks forward to the nineteenth century.

Flanked by a spectacular cast featuring the role debuts of Nicky Spence (named ‘Personality of the Year’ by BBC Music Magazine in 2022) and Simona Šaturová, the conductor Ben Glassberg (Music Director of the Opéra de Rouen Normandie) once again demonstrates his Mozartian temperament. This late masterpiece (written at the same time as Die Zauberflöte) places his musical genius at the service of a plot centred on the complexity of emotions, passionate love and the absurd disaster of betrayal.

Giovanni Bononcini composed the four part oratorio La Conversione di Maddalena for the Habsburg emperor Leopold I in 1701. The musician from Modena, at the time at the apex of his European fame, had at his disposal the best forces of the Imperial Chapel: four singers (two sopranos, a contralto and a bass) of top rate and an instrumental ensemble, limited to strings but adequately consistent to articulate a concert dialectic with tutti-concertino, including soloist pages for the violin, the cello and the viola da gamba.The extremely popular story of Mary Magdalene – a subject among the most fascinating in the Baroque spirituality of the Counter-reformation – is dealt with in original terms by the anonymous author of the libretto, who through a suggestive use of poetry “places on stage” the difficult journey of conversion of the sinner saint. Mary Magdalene is urged by the percussive incitement of her sister Marta (like in the painting of Caravaggio), who at the end of several stages of a contradicting drama plot, will succeed in winning her over to the field of Sacred Love, making vain the offers and threats of Profane Love.Bononcini reacts to the suggestions of the text by producing a score that holds a wonderful variety and a constant novelty of invention, and in which immediate heartfelt expressiveness, conspicuous vocal requirements and many nuances of timbre and harmony concur to define a sculpted profile for each character.

The Théâtre des Champs-Élysées and Alpha extend their series of recordings of the Mozart operas conducted by Jérémie Rhorer. After Die Entführung aus dem Serail, which received excellent international reviews (including FFFF in Télérama), here now is La clemenza di Tito. Gilles Macassar wrote in Télérama late in 2014 of ‘divinatory conducting, a cast close to the ideal . . . The last opera Mozart composed, long undervalued, closes the chapter of the Baroque and looks into the future, blazing a new trail that looks forward to the nineteenth century.’

Lady Oscar (ベルサイユのばら,, Berusaiyu no Bara, letteralmente "Le Rose di Versailles"), è un manga di Riyoko Ikeda, trasposto anche in una celebre serie televisiva anime e, prossimamente, in un lungometraggio animato.

Algeri, 1957: nella casbah i paracadutisti francesi comandati dal colonnello Mathieu fanno irruzione in un appartamento dove è nascosto, in una nicchia camuffata da parete, il rivoluzionario algerino Alì La Pointe insieme ad un bambino, una donna e un compagno di lotta. Mentre i parà gli intimano di uscire senza opporre resistenza, lui rievoca il suo passato…

"Componenda" significa accordo, compromesso, transazione intesa a sanare un contenzioso tra parti. Fa pensare all'accordo tra due privati o, quando non privati, a pattuizioni di poteri occulti, torbidi, segreti. Tutto il contrario della posizione di uno stato di diritto che non compone, ma garantisce imparzialmente contro i torti. E invece, in Sicilia almeno...

Vigàta, 21 marzo 1890: il ragioniere Antonio Patò, direttore della locale sede della "Banca di Trinacria", funzionario irreprensibile, marito integerrimo e padre amoroso, è scomparso nel nulla durante la sacra rappresentazione del Venerdì Santo, nella quale interpretava il ruolo di Giuda. Che fine ha fatto? E' morto? O si è voluto nascondere? E soprattutto, perché è scomparso? Scritto in forma di dossier, a metà tra la commedia di costume e il giallo.