Friday, March 20, 2009

Ipod Touch Extention Cord

The Teatro Massimo Opera




Melodrama

unable to attend a play without thinking about what it can express, trying to take over that message also to the purely cultural, spiritual, in the form of overt or implied that you can always read, comment addition to the plots and search for originality narrate nelle varie opere, in queste pagine cercheremo di evidenziare la presenza del Divino, del sacro, cercando di cogliere quel messaggio spirituale che ogni singola opera può trasmettere, anche, dove sembra del tutto, assente. Non dobbiamo, mai, dimenticare che Dio è sempre presente in ogni persona, in ogni cosa, in ogni luogo, come leggiamo nel Sal.139 “Se salgo in cielo là, Tu, sei, se scendo negli inferi, eccoTi ”. Purtroppo non possiamo affrontare un’approfondita analisi musicale, ma cercheremo di presentare ai neofiti, un’analisi dei testi, rimandando all’ascolto di brani musicali, più complete circle so, to encourage them to listen to and analysis of this matter, for them, which is tricky opera. Without the musical expression, many works may appear, alone, the unnecessary stories of common life, history, fantastic, dramatic or comic, that is, but of common life. The opera, not appreciated by many, perhaps because of it, is considered the most complete music lover, the show where the story, the action, the word blend with the music and with it comes a unique, unbreakable performance. The music in the works, has the power to enhance the content of the text and, in our opinion, what to see in a story where, apparently, evil triumphs dominates or even the sacred. Obviously, the plots, which are taken from the booklets, as well as drawing influence from the European literature that have helped to disseminate, communicate lessons, so, more or less direct, and to draw the moral that, as mentioned, the music and sublingual stresses. It would be absurd, but works with more bloody if not thought out plots that can be expressed, only evil, evil, death, are in fact thrown up by the music, transcending mystical asceticism real events and sublimation. The music can thus be regarded as the "DEUS EX MACHINA"
,
delle antiche tragedie greche, senza la quale la trama perderebbe il suo scopo, la sua identità.  

 

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THE THEATRE OF OPERA .-.-.-.-.-.-.-.-.-.-.-.-.-.-.-.- .-.-.-.-.-.-.-.-.-.-.-.-.-.-.-.-.-.-.-.-.-.-.-.
the opera houses in Italy as well as being sources of culture, have accompanied our nation in its history. The unity of Italy, we can say, that was a main player ccompagnamento melodrama with his music, especially the works of G. GREEN. The locations of these peaceful battles were just the opera houses where the enthusiasm was fed first and indispensable weapon of the wars of independence. We will try in these pages to present some of these "temples of opera," together with the historical period that saw them born and grow up, trying not to neglect those of other nations who have seen the success of great musicians, including Italian. will start from the less important, at least in the history of opera ia not have that, in announcing major works of Italian opera, but certainly not poor earchitettonico.Iniziamo of historic theaters in Sicily Theatres in Palermo in Sicily there are vestiges of ancient Greek and Roman theaters, as Siracusa, Catania, Taormina, just to name a few, the same can not be said of Palermo where, only in recent times have come to light ancient relics in the area overlooking the royal palace, an old theater in use in the Norman period, but seems to be built in Roman times. Could not miss a theater at the court of Frederick II, a great lover of art and literature, in the Sicilian school, and this, if not the only one seems to be the greatest. Theaters of a certain relief that the memory is not only the names. Among the most important for the history of the city remain the Teatro Santa Cecilia, Teatro Bellini, politeama Garibaldi. tratro Biondo and the Teatro Massimo. U n theater the music made by 'arch. Paul Amato in 1681, was demolished in 1827 site and a private theater in the villa of the Prince of Castelnuovo is today, in the grounds of this villa, now the second half of last century, is acting as an outdoor theater used to summer productions of the autonomous entity Teatro Massimo. A Theatre, most recently, The National, working as a cinema until recently, located in the same square in front of the Politeama, unfortunately hosts
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Monday, March 16, 2009

Kates Playground Heels





Teatro Massimo Vittorio Emanuele






" L’arte rinnova i popoli e ne rivela la vita. vano delle scene è where the beloved is not intended to prepararl'avvenire.
.-.-.-.-.-.-.-.-.-.-.-.-.-.-.-.-.-. -.-.-.-.-.-.-.- These words, light-colored and clear are written at the top of the door of the theater "Massimo Vittorio Emanuele, Palermo. Uncertain are the opinions about the author from whom it was that inscription, engraved at the base of the gable above the neoclassical temple of opera in Palermo: Teatro Massimo Vittorio Emanuele. According to the historian, specialist in architecture, Rosario La Duca may have been dictated by Vincenzo Gioberti, or Perez.Giovanni Pirrone Francesco Paolo in his extensive study of the Teatro Massimo writes: "The epigraph SEEMS TOO DAPRESSO REFLECT THE THOUGHT THAT SOME OF HIS FATHER AND BASILE DETERMINISM DISCOVERED IN THE RELATIONSHIP BETWEEN ART, ARCHITECTURE AND SOCIETY. But then adds that it (The epigraph) NOT REGRET IT AT THAT MARQUES, Domenico Caracciolo, Viceroy of Sicily, THAT NIGHT VISION IN ITS EDUCATIONAL, a century before, he wanted to P alermo A NEW THEATRE FOR A NEW CITY .
( "-taken from http://cronologia.leonardo.it/storia/tabello tabe1605.htm)

may, also be true the hypothesis that the thought expressed is not a single hand or to be more precise, one mind, because it seems that the reference is due to Gioberti , alone, to mention a fact during the funeral of GBF Basile from 'assessor and municipal engineer of the time, Joseph Cimino, but there is one who gives the Gioberti only the first sentence: "The art renews the peoples and reveals its life "while the second" compartment of the scenes where the beloved is not intended to prepare for the future, "strictly educational content could be attributed, as a complement to the first, and put a message signature of his monumental work, by the same professor Ing Giovan Battista Filippo Basile. But nothing is certain, as indeed, doubts, mysteries, deeds and misdeeds is crowned the history of the Theatre of the Viceroy Domenico Caracciolo Palermo dream and those that remained. The interpretation of the phrase engraved on the pedagogical, the Teatro Massimo is to be considered valid for each theater, and recalls with opposite meaning the most famous phrases written at the top of the door of Dante's Inferno "Let all who enter" you might read, couched the message in a positive way: "You hope that gain more revenue." Quest'epigrafe sounds, as well as an unheeded warning, the fact men because they approach, and are introduced to art, to the scenes, not for pure enjoyment or anything, but as a true source of reflection is to approach the pure form of entertainment for this, I never go in vain. Urges, therefore, the commitment cultural, social and, let's say, the spiritual should be not only the continued commitment of the viewer, but most of those who undertakes the task of working in the entertainment world to bring hope and a future with hope solid moral basis.
Teatro Massimo 2
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Jc Penney Hair Salon At South Park

Theatre Massimo2


Teatro Massimo Vittorio Emanuele - 2
would only be foolish to not only attend, but, mainly, to stage a play, an opera in particular, without trying to insert or read a spiritual message, which raises from the arid concepts, materials, bringing both openly implied that, to the Divine, which will be highlighted, as always present in
representations, apparently more frivolous
not to lose hope for a better future. Without the support of musical theater works there are many, where everything is entrusted to the skill and stage presence of the actors, but the music goes beyond enhancing even the most barren plot and poor interpretation.



not forget, too, that the ancient Greek tragedies of the great playwrights such as Sophocles, Aeschylus, Euripides, were also accompanied by music, even if archaic and we have not received, but even then, was placed to support the show. In addition, many unknown works, even of great poets and playwrights have come to the general public through the melodrama. To cite just one example, from Rigoletto, by Giuseppe Verdi as well-known, very few know how to be taken from the drama of Victor Hugo, "Le roi s'amuse" or "King Joker" and so we're going to treat others. Rounding out the principle of unity of opera, highlighting the scene, taking care to turn off the lights in the room at the beginning of the play and brings the orchestra into a lower floor of the hall, distancing itself further from the stage, has provided Richard Wagner, creator and achievements of the orchestra pit, less poetically known as the orchestra pit. You could, with the permission of the great German musician will also call, mystical vortex, because just like a vortex that starts from the bottom of the "Gulf", the music and involves highlighting what and who dominates the extraordinary event which is the representation opera. These experiments were made in practice by himself in his Wagner Festspielhaus in Bayreuth, a building erected in 1876 according to his conception of theater and was the first opera house as it is understood today with orchestra pit, a focus on acoustics proper care of the lights and much, since then also all the other theaters were processed and manufactured according to the innovations of the revolutionary musician. In this respect it seems that it was Wagner himself who advise GBF Basile how to put his experiences as a theater, then in the pipeline, especially for the perfect sound for which the Teatro Massimo, one third of Europe, like size and bigger of Italy, is still famous in the world. From the architectural point of view we note that the shapes of the structure of the Wagner Festspielhaus are similar to those outlined in the Teatro Massimo Festspielhaus

door of the Teatro Massimo communicating with
stage


Let's see how the pitched roof the tower side of the stage and the projections are similar in the two theaters, although of different styles. Unfortunately today we see as the perfect sound so famous in the world has been marred possibly an over dose of reinforced concrete by , so-called, shameful restoration work for twenty-four years have deprived the city of its main theater. Despite the progress of science and technology professors of acoustics seems
not have learned anything from Basile and prfessor can not do better aimed at destroying what their predecessors have left because damage the acoustics seem to have affected all the theaters, which, at least in Italy, they beam work
of restoration. The Teatro Massimo Vittorio Emanuele Basile conceived by the neo-classical style, has a large staircase on the main façade, in which the top six columns supporting the pediment with the base, the lintel is the inscription engraved in the above mentioned and entrance porch, below,
climbing the stairs on the right, a bust of Vincenzo Bellini



In the photo, the metal dome, below the center, the entrance of the artists





All’interno il soffitto della sala presenta dei pannelli affrescati, scorrevoli, che fanno da petali all’affresco circolare, posto al centro,al posto di classici lampadari.

All’esterno sotto la cupola metallica, delle finestre, a mezza luna, comunicano con un ampio spazio tra la cupola e il soffitto, favorendo l’areazione nei mesi caldi ; questa invenzione del Basile preveniva la moderna e dannosa aria condizionata.

Ai lati  la scalinata d'ingresso due sculture allegoriche che raffigurano due leoni, cavalcati da due figure muliebri,  rappresentano la Lirica e la tragedia, rispettivamente Mario Rutelli and Benedetto Civiletti, artists themselves Palermo, who built the group above, the Politeama Garibaldi, in both cases, their works seem to have been created by the same hand.


the Opera





Tragedy




The prospectus, in one of the gardens side is placed a bronze bust of Giuseppe Verdi.










TEATRO MASSIMO 3




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Trading Spaces Bed Buiding

THE TEATRO MASSIMO 3



IL TEATRO Massimo Vittorio Emanuele - 3

Per la costruzione del MASSIMO, il cui nome era stato già assegnato, ancora prima della progettazione, furono proposti vari spazi. Il primo in Piazza Marina, un altro nel piano S. Onofrio sotto la via Maqueda , venne ipotizzato anche l’abbattimento dell’antico palazzo dei marchesi Ugo in piazza Bologni , ma fu anche questa ipotesi , scartata poiché si andava  incontro a costosi interventions and excessive changes planning of the area. The area chosen reflected the will of the viceroy Caracciolo who wanted a new theater outside the door Maqueda. You chose well, the area that led to the demolition of the district San Giuliano. To create this space for future art theater were sacrificed two houses and three churches.
were killed, the monastery of the Virgin of the Immaculate Conception of San Giuliano Teatine with the church adjoining the monastery of the stigma and the churches of Santa Marta and San Lorenzo and their cemeteries.
This choice was not acceptable to the religious conscience of many observant Catholics, respectful of the sacred places they saw replaced with a space devoted to pure fun. You may think that this criticism, too, have inspired the inscription above the theater. From the destruction of these holy places is born Legend of the Phantom of the Opera, Palermo.
Many, in fact, seem to have seen the ghost of a nun, identified by some as the superior one of the two convents, wander within the walls of the theater since it was under construction and later in the boxes to follow the performances. Some people attribute a vengeful character, perhaps to justify all the troubles that have since before the start of construction have haunted the theater and does not seem to have ceased. Others saw this as a good sister, a lover of opera that followed by an empty stage, pleased, shows. Today I do not talk about it anymore because a true connoisseur of good music and entertainment, the theater will be deserted for the slaughter perpetrated against the acoustics for the obscene scenes and royal unorthodox, in vogue today, things to which a 'expert critics as she could not remain indifferent.
Returning to theater history, the jury or the jury, convened to choose among the proposed projects in the competition, to achieve what should have been reunite in 1866 but due to the cholera epidemic was delayed following year. The projects presented were thirty-five, set out in the church of San Domenico each bore a motto as a sign of recognition.
thirty-five of us are received archetype designs in wood, as well as the entire work of the winner GBF Basile with the motto "Archetype and drawings and a sketch chart of the fourth place, by Giuseppe Damiani Almeyda, the scorer of the Teatro Politeama. The loss designs and projects is a real shame because, according to reports received, there were many beautiful works of architects from all over Europe 'that put the jury in difficulty choices, forced to exclude works which he considered very interesting, but that did not meet characteristics required by the municipality.
The jury was composed
from 1 'Sicilian architect Saverio Cavallari
2 Falcini architect Mariano of Florence
by the German architect Gottfried Semper 3
who took the chair.
I the Semper had designed and built the Vienna Hof-Opernaus admirer of the mosses of Wagner was his great friend. Was commissioned to design the Wagner-Nationaltheater that was to be built in Monaco of Bavaria, but that was not built for the excessive cost that exceeded the economic possibilities of the patron, King Ludwig II that would have wanted.
This certainly influenced the project prepared by O. Bruckwald for the construction of the Wagner Festspielhaus theater Bayreut - in 1872 - 76 -, and according to all the needs in particular those relating to the desired sound from the great German musician.
These details about the architect Gottfried Semper were highlighted to reflect on how the innovations desired by Wagner could not miss in a theater chosen by its architect.
Species the quality of the orchestra pit and the consequential goodness acoustics, for these reasons he was chosen as chairman of the jury. For these reasons, there was no need to enlarge the orchestra pit, in hedge restoration work, not yet completed , that, so, is the sound barrier between the singers and the audience, of course, with serious damage to the acoustics. It would be just enough portare a compimento ciò che il Basile aveva già previsto riguardo all'abbassamento del piano dell'orchestra. L'allargamento del gofo, oggi non più mistico è di grande ostacolo agli artisti che lamentano, anche, l'eccessiva distanzatra tra la loro posizione in plcoscenico e il direttore. Lasciando
In un primo momento il progetto del Damiani era stato, in una prima graduatoria, considerato tra i belli, superato dai più belli e dai bellissimi meritevoli di premio di cui faceva parte l’opera del Basile e molti altri tra cui il secondo e il quinto classified.
summarize the ranking of the top five projects:
ranked first with GBF Basile motto "Archetype and drawings
The s ccording classified was the work, the Neapolitan castles , with motto " Giovanni da Procida "
to third the project architect. Rega Neapolitan motto:
" Temple where divine worship arts s'an "
As mentioned above, the fourth classified, the work of Giuseppe Damiani Almeyda, with the modest motto, "Quod Potu feces, faciant meliora potentes "

fifth of Brescia Giacomo Leoni , with motto " Termini Imerese " (almost a signature, because he lived a long time just to Termini Imerese)
You know, even a sixth name, one related to a project reported to the municipality by the jury as worthy of note, with motto " Luigia " of 'arch. Fortunato Lodi di Bologna.
Le altre buste con i nomi dei progettisti non classificati non furono aperte e tantomeno i disegni, come già detto, non furono tramandati ai posteri almeno per pura conoscenza e studi futuri : un vero PECCATO.
Come ogni concorso che si rispetti, da sempre, la scelta the jury was immediately challenged.
especially since fourth place, Giuseppe Damiani Almeyda, who created a true casus belli against Basile can not accept that somebody else could do better than what he could do. as expected, given the motto of the presentation of the work:
Quod Potu feces, faciant meliora potentes.
Architects Castles and the unseasoned and Rega respectively ranked third, elegantly departed for Naples, unaware of their plans we can not give no opinion, but since it preceded the Almeida in the evaluation of judges, it seems too much in wanting revenge for the fourth ranked challenge the court to affirm his project. After the dispute between Damiani and Almeida Basile, other difficulties, contributed to dwell and work began, so by Giovan Battista Filippo Basile various vicissitudes, not least economic, political hatched by the municipal administration, which lasted for 24 years. I the Basile realized he could not see his great work because it was less than the living June 16, 1891. Today, enhancing the size and style of the theater, to appreciate the pain that gave its designer, who died prematurely during the execution of the work and the various disputes. His successor, in the direction of the work was his son Ernesto.
May 16, 1897 and comes after the recent completion of the vicissitudes that haunt the theater, to the last, the Maximus opens almost by itself, necessarily d 'inertia, since men have done everything to prevent it. As for the reopening, after another 24-year closure for renovations, the 1974.al 1997.
Approximately 24 years for the construction and the same for the restructuring, before he was to carry a century after the inauguration. On 16 May 1897, the first inauguration in May 1997 opened after 24 years of closure. It seems that this theater glory of the city has weighed and weights too to administrators Palermo, almost to the point that he had never wanted and still want it.
Returning to the opening night of 1897, was there, as at the opening of the theater politeama, the son of the king, to whom the theater was dedicated: Umberto I, admiring the scene, he seems to say, perhaps to himself, "perhaps Palermo needed a theater so big?" But someone has heard and reported.
The first work that inaugurated the Teatro Massimo Vittorio Emanuele is "Falstaff," the last and most recent work GiuseppeVerdi still alive. Among the singers in the role of Falstaff, the low Arturo Pessina, and a young tenor, Enrico Caruso at the beginning of his career. On the podium the Neapolitan master Leopoldo Mugnone. The "Giornale di Sicilia of May 18, 1897 in reporting the news wrote: "Mugnone brought the orchestra to the conquest of glory."
Teatro Massimo 1
Theatre Up to 2
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