San Pietro

Dopo il successo di Musei Vaticani 3D e di Firenze e gli Uffizi 3D, arriva al cinema San Pietro e le Basiliche Papali di Roma 3D, la nuova produzione cinematografica firmata Sky 3D che, assieme al Centro Televisivo Vaticano e in collaborazione con Nexo Digital, Magnitudo Film e Sky Arte HD, propone un viaggio attraverso le quattro Basiliche Papali di Roma e i loro tesori - After the success of the Vatican Museums 3D and Florence and the Uffizi 3D, coming to cinemas St Peter’s and the Papal Basilicas of Rome 3D, a new film production by Sky 3D and the Vatican Television Centre (CTV) in collaboration with Nexo Digital, Magnitudo Film and Sky Arte HD, taking you on a journey through the four Papal Basilicas in Rome and their treasures.

Se dovessimo raccontare la Storia dell’umanità utilizzando dieci immagini, una di queste sarebbe certamente la Basilica di San Pietro: non solo è un luogo simbolo della cristianità, ma rappresenta la suprema sintesi di duemila anni di arte e scienza, creatività e potere. È un’immagine per noi talmente familiare che spesso non ci domandiamo nemmeno quali papi e artisti l’abbiano voluta, progettata e costruita, né come sia diventata quell’incredibile scrigno di capolavori che, nella sua magnificenza, ogni anno torna ad affascinare sette milioni di visitatori. …

Giovanni Battista Sammartini, son of the French oboist Alexis Saint-Martin, was most likely born in Milan in 1700 or 1701; his death certificate, dated 1775, gives his age as 74. Not much is known about his childhood. In 1724 he is already documented as being a maestro di cappella; we also know that he was active as a performer on the oboe and organ, winning admiration for the individuality of his touch on the latter instrument…
Maria Daniela Villa / Translation by David S. Tabbat

There is still no consideration of the musical depth of Giulio San Pietro del Negro, an avant-garde composer of the early 17th century, Salentinian by birth (from Lecce) but Lombardian by artistic adoption. Thanks to in-depth studies conducted by Maria Giovanna Brindisino and Sarah Marianna Iacono, we have a rich and varied historical-biographical profile of del Negro: from a young age (1580-1600) the composer lived in Lecce; during those two decades, he probably studied under the direction of maestro di cappella Francesco Antonio Baseo; then, in the first decades of 17th century, he was warmly welcomed into the Lombardian artistic environment (artists and writers from the Accademia degli Inquieti in Milan and the Affidati in Pavia).