viernes, 7 de enero de 2022
jueves, 6 de enero de 2022
La reina francesa del chamamé presenta su película La Madrugada
La cantante Mandy Lerouge, la reina francesa del chamamé, presenta su película La Madrugada, realizada por Francesco Garbo en la que canta en directo desde los Alpes franceses, preludio de sus conciertos parisinos el próximo mes de abril.
martes, 4 de enero de 2022
Tchaikovsky: Swan Lake, Op. 20 | Kirov Ballet, 1990 (Choreography: Mariu...
Swan Lake by Pyotr Ilyich Tchaikovsky (1840 - 1893) is one of the most famous ballets ever. Composed in 1875/76 and premiered in 1877 at the Bolshoi Theatre in Moscow, Swan Lake is still part of the standard repertoire of classical ballet companies today. The production of the ballet classic performed by Marius Petipa and Lev Ivanov in 1895 at the Mariinsky Theatre in Saint Petersburg had a great influence all subsequent performances of Swan Lake.
The Alps 4K - 60 Minute Relaxation Film with Calming Music
The European Alps are the most beautiful region in the world! Enjoy this 4k one hour visual journey across the mountains of Switzerland to the Dolomites of Northern Italy. I wanted to create a scenic relaxation film that allows you to meditate and immerse yourself in the beauty of The Alps.
Philippe Lafeuille, el hombre que hacia bailar a los hombres
El coreógrafo francés Philippe Lafeuille acaba de estrenar en el Teatro Libre de Paris ‘Car/Men’ nuevo espectáculo de danza lleno de humor y música con su ya mítica compañía ‘Chicos Mambo’.
lunes, 3 de enero de 2022
Mozart: Davide Penitente as an equestrian ballet | Bartabas at the 2015 ...
In a spectacle for lovers of classical music and horses alike: Wolfgang Amadeus Mozart's cantata Davide Penitente (also: Davidde penitente) is presented as a horse ballet, choreographed by Bartabas. The performance took place in the Felsenreitschule theater, as part of Salzburg’s 2015 Mozart Week. Conducted by Marc Minkowski, Les Musiciens du Louvre Grenoble perform on period instruments, alongside vocal soloists Christiane Karg (soprano), Marianne Crebassa (mezzo-soprano) and Stanislas de Barbeyrac (tenor), as well as Salzburg’s own Bach Choir. The ballet is performed by the horses and riders of the National Equestrian Academy of Versailles.
It’s the first performance at the Salzburg Mozart Week by French equestrian artist and theater maker Bartabas and his troupe from the Adadémie Équestre de Versailles. That – of all places – the Felsenreitschule was selected to be the venue is no coincidence; the 300-year-old theater was originally built specifically for equestrian performances. The former audience arcades are now occupied by the orchestra, choir, and soloists, while the horses once again have full rein of the stage.
For the choreography, Wolfgang Amadeus Mozart’s cantata Davide Pentitente has been supplemented by three more of Austrian composer’s works. As the opening – as an overture, so to speak – comes the March of the Priests from The Magic Flute, and the Maurerische Trauermusik (Masonic Funeral Music) in C minor. Prior to the final three penitential prayers, the second movement of the Symphony No. 46 in C major – the Andante – has been added.
The performance itself is submerged in an atmospheric darkness, lending it something of the sacred. In the interplay of horse and human, music and movement, light and costumes, Bartabas' production proves to be an extraordinary take on the Mozart concerto – a modern equine ballet in a location steeped in tradition.
Opening:
(00:00) Introduction
(00:47) March of the Priests from The Magic Flute, K. 620/09
(03:44) Maurerische Trauermusik (Masonic Funeral Music) in C minor, K. 477
Davide penitente K. 469
(09:29) Chorus & Soprano I: Alzai le flebili voci al Signor (Andante moderato)
(16:24) Chorus: Cantiam le glorie (Allegro vivace)
(18:42) Aria (Soprano II): Lungi le cure ingrate (Allegro aperto)
(23:24) Chorus: Sii pur sempre benigno, oh Dio (Adagio)
(24:39) Duet (Soprano I & II): Sorgi, o Signore, e spargi (Allegro moderato)
(27:17) Aria (Tenor): A te, fra tanti affanni – Udisti i voti miei (Andante – Allegro)
(34:23) Chorus: Se vuoi, puniscimi (Largo)
(38:52) Andante from the Symphony No. 46 in C major, K. 96
Davide penitente K. 469
(43:00) Aria (Soprano I): Tra l'oscure ombre funeste – Alme belle (Andante – Allegro)
(49:27) Terzetto (Sopranos I & II, Tenor): Tutte le mie speranze (Allegro)
(53:22) Chorus, Sopranos I & II, Tenor: Chi in Dio sol spera: Di tai pericoli non ha timor (Adagio – Fugue)
Nathalie Joly, canciones y recuerdos de ida y vuelta
La actriz y cantante francesa Nathalie Joly presenta en el teatro parisino El Local ‘Chansons d'aller-retour’ -canciones de ida y vuelta- creación que combina humor, entusiasmo y nostalgia a través de dos hermanas, dos voces, que evocan recuerdos y sensaciones de su Argelia natal.
Hay algo intrigante en las últimas imágenes del Hubble | Imágenes del Hu...
En este video veremos una variedad de imágenes increíbles 4K que el equipo del Hubble ha publicado recientemente. Desde hermosas galaxias coloridas, una estrella de carbono de apariencia siniestra, hasta objetos de aspecto peculiar.
Camille Saint-Saëns : Requiem, Symphony No.3 - Orchestre National de Fra...
La seconde partie du concert est elle dédiée à la fameuse Symphonie n°3 du compositeur romantique. C’est Olivier Latry, titulaire du grand orgue de Notre-Dame de Paris, que l’on retrouve face à l’orgue de l’Auditorium de Radio France pour interpréter cette œuvre célébrissime. Commandée par la Royal Philharmonic Society de Londres et dédiée à Liszt, cette symphonie est sans nul doute l’un des succès les plus retentissants de Camille Saint-Saëns, et ce dès sa création en 1886. Aujourd’hui encore, elle reste l’une de ses œuvres les plus jouées.
Programme :
Camille Saint-Saëns - Requiem
Camille Saint-Saëns - Symphonie n°3 avec orgue
domingo, 2 de enero de 2022
Patti Smith (live) - Montreux Jazz Festival 2005 - ARTE Concert
Enregistré dans le cadre de la tournée de son album "Trampin'", un live au Montreux Jazz Festival où la chamane punk @Patti Smith déploie son art habité de la scène.
Elle a toujours vécu la scène comme une expérience artistique intense, enjoignant ses musiciens − les compagnons Lenny Kaye (guitare), Jay Dee Daugherty (batterie), Tony Shanahan (basse) et, en renfort, le complice Tom Verlaine, guitariste prodigieux et ancien leader de Television − à ne jamais reproduire l’exercice de la veille.
Pour ce concert enregistré au Montreux Jazz Festival en 2005, dans la foulée de la sortie de son album "Trampin’" (2004), Patti Smith fait une nouvelle fois preuve de son charisme scénique, nourri d’énergie contagieuse. L’icône punk, au timbre puissant et expressif, démarre par un enjoué "Redondo Beach", titre sans ride de son premier album. "Dancing Barefoot", "25th Floor", "Because the Night" : alternant retour aux sources et morceaux récents, la chanteuse poétesse surfe avec maestria sur le répertoire d’une longue carrière. Prêtresse ce soir-là dans un des temples du jazz, elle se livre aussi, en totale alchimie avec ses fidèles mousquetaires, à des improvisations fulgurantes sur "Beneath the Southern Cross" ou "Ain't it Strange".
Guitares acoustique ou électrique, harmonica… : dans un hommage à Ornette Coleman, la musicienne s'empare avec ferveur d'une clarinette en intro d’un sensuel "Seven Ways of Going", avant de retrouver son registre mélancolique avec "Peaceable Kingdom". Le temps d’une transe avec "Not Fade Away/Memento Mori" et l’épatante performance s’achève par l’enragé "People Have The Power", repris par un public extatique
Bach: Toccata and Fugue in D minor, BWV 565 | Jürgen Wolf (St. Nicholas ...
It’s possibly the most recognizable organ work of all time: Johann Sebastian Bach's Toccata and Fugue in D minor, BWV 565. Here, Bach’s tour de force is being played by Jürgen Wolf on the church organ of Leipzig’s Nikolaikirche.
The performance took place at a commemorative concert held on October 9, 1999 – exactly ten years after the ‘Monday Demonstration’. On October 9, 1989, some 70,000 citizens overcame their fear of the authoritarian regime to demonstrate for freedom and more democracy in Leipzig – the second largest city of former East Germany. The peaceful, large-scale demonstration is considered a key historical moment which, in combination with other events, led to the fall of the Wall a month later on November 9, 1989.
It is not known precisely when Johann Sebastian Bach (1685 - 1750) wrote the Toccata and Fugue in D minor. At times, it was even questioned whether it was written by Bach at all. Most researchers now assume, however, that the organ classic is the work of a young Bach, composed in Arnstadt between 1703 and 1707.
The best-known aspect of the Toccata and Fugue in D minor, BWV 565 is its opening bars: The first note receives a lower mordent flourish – a short alternation with the next note – followed by a pause, which is then broken off by an eruptive, descending sequence of notes. After another pause, the opening is repeated with a variation. The tension created by these few notes could scarcely be greater – the long pauses working to almost ominous effect. Certainly today, the playing of the first note and its mordent alone is usually enough to identify Bach's Toccata and Fugue in D minor, BWV 565. The powerful toccata, with its almost improvised feel, is followed by a four-part fugue (02:40) with a strict composition throughout, reminiscent of clockwork mechanics. The work concludes with a coda marked ‘Recitativo’ (06:50).
Fun fact: The popularity of Bach's Toccata and Fugue in D minor is due in no small part to its appearance in Walt Disney’s 1940 film, Fantasia. In it, the organ work is performed in its orchestral version, by conductor Leopold Stokowski. The images in the film are made up in part by the musicians performing in silhouette, complimented by a piece of abstract animation. If one first hears Bach's suspenseful organ piece in Stokowski's orchestral version, one could be forgiven for thinking it might be original film music.
Jürgen Wolf is a German organist, conductor and composer. From 1993 to 2019 he was cantor of the St. Nicolas Church, Leipzig. Since 2019, Wolf has been active primarily as a guest conductor. During his studies, Jürgen Wolf was already intensively involved in historical performance practice, with a special focus on the interpretation of the music of Johann Sebastian Bach.
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