Charlie Chaplin: Charlot e la sonnambula (1914)

Shostakovich: Piano Concerto No. 2 | Daniel Ciobanu, Romanian Youth Orch...

It featured precision, a love of playing and character: This is how the performance of Dmitri Shostakovich's Piano Concerto No. 2 in F major, Op. 102 at the Young Euro Classic Festival 2021 in the Konzerthaus Berlin could be summed up. The Romanian Youth Orchestra performed under the baton of Cristian Mandeal, and Daniel Ciobanu shone on the piano. (00:00) I. Allegro (08:00) II. Andante (15:21) III Allegro The Piano Concerto No. 2 in F major, Op. 102 was composed by Dmitri Shostakovich (1906 - 1975) in 1957 for the 19th birthday of his son Maxim. And although his father did not consider the gift a success, it was very well received by the audience from the very beginning and has a firm place in concert programs to this day – which may be due not least to the freshness and freedom that Shostakovich's second Piano Concerto radiates. Romanian pianist Daniel Ciobanu plays the pentatonic-rich Shostakovich concerto with effortless precision. Whether in the brisk first movement, the lyrical and pensive second movement, or the dance-like third movement, Ciobanu lends the appropriate character to each musical mood and interplays perfectly with the Romanian Youth Orchestra. And so it is not surprising that at the end there is a storm of applause and shouts of enthusiasm. The Young Euro Classic Festival is the world's most important platform of young international orchestras for the European classical music tradition and its developments. Every summer, for two-and-a-half weeks, orchestras from all over the world perform at Berlin's Konzerthaus am Gendarmenmarkt.

Qué es la teoría de cuerdas y cómo puede resolver los dilemas de la físi...

La física moderna se encuentra en una encrucijada. Pese a todos los avances para entender el universo, todavía falta una teoría simple que explique cómo funcionan todas las cosas. Una Teoría del Todo. Pero hay una idea particularmente atractiva que algunos físicos teóricos piensan que podría ser la correcta: la teoría de cuerdas. En este video te contamos qué propone esta teoría y las interrogantes que aún quedan por resolver. ● Investigación, guión y presentación: Laura García ● Edición y Animación: Mawi.tv ● Editora: Natalia Pianzola

La venezolana Margarita Cadenas, premio al mejor cortometraje del Festiv...

La realizadora franco-venezolana Margarita Cadenas acaba de obtener el premio al mejor cortometraje del Festival de Stafford en pleno corazón de Inglaterra, por su película ‘Devoilement’ –revelación-.

Beethoven: Symphony No. 3 'Eroica' | Michael Boder & ORF Vienna Radio Sy...

It is one of the most popular symphonies ever: Ludwig van Beethoven’s Symphony No. 3 in E-flat major, Op. 55, also called Eroica. Here it is performed by the ORF Vienna Radio Symphony Orchestra conducted by Michael Boder at the Beethovenfest Bonn 2021 at the World Conference Center Bonn (WCCB). (00:00) Symphony No. 3 in E-flat major, Op. 55, Eroica (00:36) I. Allegro con brio (17:38) II. Marcia funebre (Adagio assai) (30:18) III. Scherzo (Allegro vivace) (36:03) IV. Finale: Allegro molto - Poco andante – Presto Ludwig van Beethoven (1770 - 1827) began planning his Symphony No. 3 in the fall of 1802, composing most of it in 1803, and probably not completing it until early 1804. The private premiere happened in the same year. The first public performance took place on April 7, 1805 and was conducted by Beethoven himself. Because of the epithet ‘Eroica’ (the Heroic one), Beethoven’s third symphony is commonly linked to Napoleon. However, Beethoven’s relationship to Napoleon was rather ambivalent: on the one hand, he was fascinated by Napoleon’s ideals, but at the same time he was deeply repelled by the fact that he had proclaimed himself emperor. Later, however, Beethoven is said to have revered Napoleon. His ambivalent attitude is also evidenced by the addition of the words “written on Bonaparte” to the copy of the score, which he initially erased, but later added in again. It is also unknown, however, who the hero could be to whom Beethoven dedicated the Eroica with the words “Sinfonia Eroica composta per celebrare la morte d’un Eroe”. Researchers doubt that he could have meant Napoleon. Whatever the case, Beethoven dedicated his third symphony to a hero whose funeral he commemorates in the second movement with a brilliant funeral march and who he resurrects triumphantly at the end of the fourth movement. Perhaps it is precisely this range of emotions, from serious, deepest mourning to joyfully enthusiastic exaltation that makes Beethoven’s Eroica so appealing.

Audiencia General 19 de enero 2022 Papa Francisco

El colombiano Marcelo Gómez director de la revista El café latino

El colombiano Marcelo Gómez presenta desde hace más de diez años al público francés, y más allá de los clichés, lo más destacado de la actualidad de toda América latina a través de la revista El café Latino. Naturalmente ha estado con Jordi Batallé en El invitado de RFI para contárnoslo.

euronews en directo | Noticias internacionales desde un punto de vista e...

Charlie chaplin comedy video Laughing Gas 1914

Beethoven: Symphony No. 1 | Michael Boder and the ORF Vienna Radio Symph...

It marks the beginning of his symphonic work: Ludwig van Beethoven’s Symphony No. 1 in C major, Op. 21. Here, it’s performed at the Beethovenfest Bonn 2021 by the ORF Vienna Radio Symphony Orchestra conducted by Michael Boder in the World Conference Center Bonn (WCCB). (00:00) I. Adagio molto – Allegro con brio (09:17) II. Andante cantabile con moto (16:18) III. Menuetto: Allegro moto e vivace (19:50) IV. Adagio – Allegro molto e vivace Ludwig van Beethoven (1770 - 1827) is thought to have sketched out his first themes for the symphony in 1794, elaborating upon them predominantly in 1799, with the premiere held in Vienna on April 2, 1800. The Symphony No. 1 – conducted by Beethoven himself – was met with public favor from the off, and remains to this day one of Beethoven's most popular symphonies. This may owe itself in no small part to the fact that Beethoven's first symphony is still formally entirely in the style of Joseph Haydn and Wolfgang Amadeus Mozart’s classical symphonies. One can also already tell from the outset, however, that Beethoven will take his own symphonic work in new directions. Indeed, the very first chord itself is a novelty; Beethoven begins the symphony not in the key of C major, but with a dissonant seventh chord, which hangs in the air like a question mark, only finding its resolution after the unhurried introduction. Of the first movement, the main theme alone is in C major – the ‘home’ key of the symphony. Its march-like rhythm is reminiscent of the rousing motifs of French, revolutionary music. The first movement’s entirely dance-like, burgeoning character becomes emblematic of the entire symphony.

¿Por qué fue Derrotado Erwin Rommel en África del Norte?, con Antonio Muñoz

¿Cuál es la importancia geo estratégica del norte de África en la Segunda Guerra Mundial? ¿Cuáles son las primeras acciones de Rommel cuando llega a Libia? ¿Cómo son los combates en el desierto africano? ¿Por qué fracasó el Afrika Korps finalmente en el Alamein? ¿Cómo se repliega Rommel a Túnez? En este programa en directo vamos a analizar todos estos puntos junto con otros muchos mas, teniendo como invitado de lujo a Antonio Muñoz, siendo el escritor de los dos volúmenes de Duelo en el Desierto.

J. S. Bach: Violinkonzert E-Dur BWV 1042 ∙ hr-Sinfonieorchester ∙ Vilde ...

El artista argentino Martín Reyna, en extensión del dominio de lo abstracto

El artista argentino Martín Reyna participa en la exposición ‘Extensión del dominio de lo abstracto’ que se inaugura el próximo 23 de enero en la Galería Bessieres, situada en un palacete en la llamada Isla de los impresionistas, en los meandros del Sena a pocos kilómetros de París.

En vano últimos esfuerzos para evitar una guerra en Ucrania

Francotiradores rusos están listos para actuar cerca de la frontera con Ucrania. Desde hace semanas, tropas rusas se concentran junto a la frontera, y la tensión entre ambos países aumenta. En los últimos días se han intensificado los esfuerzos diplomáticos de Estados Unidos, la OTAN y la Unión Europea para evitar una guerra, pero hasta ahora todo ha sido en vano. El Kremlin asegura actuar en defensa propia y exige garantías de que la OTAN no seguirá extendiendo hacia el Este su alianza militar. Unas exigencias que Occidente no está dispuesto a aceptar, porque afirma que es Ucrania la que debe decidir su destino.

Opera gala: the greatest arias from Mozart, Verdi, Rossini and others

Beautiful arias by Mozart, Verdi, Rossini and other famous composers! In May 2016, international stars like Roberto de Biasio, Ingeborg Gillebo, Robin Johannsen and Simone Kermes performed these famous Arias at the 5th opera gala in Bonn. The fundraising event was organised by the German AIDS Foundation https://aids-stiftung.de and the proceeds went to projects in Germany and Mozambique. Enjoy the high art of opera singing, accompanied by the Beethoven Orchestra Bonn conducted by Stefan Blunier! 0:00 Overture (Le nozze die Figaro — Mozart) 4:20 Chiara Skerath: "Deh vieni, non tardar" (Le nozze di Figaro — Mozart) 8:55 Julia Novikova: "Je veux vivre" (Roméo et Juliette — Gounod) 13:20 Robin Johannsen: "O wär ich schon mit Dir vereint" (Fidelio — Beethoven) 16:55 Ingeborg Gillebo: "Il segreto per esser felici" (Lucrezia Borgia — Donizetti) 20:15 "O mon Dieu" - Theater Bonn Opera Chorus (Jerusalem — Verdi) 25:30 Simone Kermes: "Gran Dio! Giusto Dio che umile adoro" (Tancredi — Rossini) 33:20 Davide Luciano: "Felice ancor… per me giunto" (Don Carlos — Verdi) 37:40 Marina Prudenskaya: "O don fatale" (Don Carlos — Verdi) 42:40 Roberto De Biasio: "Quando le sere al placido" (Luisa Miller — Verdi) 46:10 Ingeborg Gillebo/Robin Johannsen: "Dôme épais le jasmin" (Lakmé — Delibes) 51:40 Robin Johannsen: "Voi avete un cor fedele" (Mozart) 58:30 Davide Luciano/Julia Novikova: "Pronta io son!" (Don Pasquale — Donizetti) 1:06:00 Simone Kermes: "Les oiseaux dans la charmille" (Les contes d‘Hoffmann — Offenbach) 1:11:55 Davide Luciano: "Largo al factotum" (Il barbiere di Siviglia — Rossini) 1:16:40 Roberto de Biasio: "Non ti scordar di me" (Ernesto de Curtis) 1:20:30 Julia Novikova: "Il bacio" (Arditi) 1:25:10 Matia Prudenskaya: "Ich lade gern mir Gäste ein" (Die Fledermaus — Strauss)