Breast Rash Broken Capilaries

Draft Curtain

some months now, has begun the adventure of Draft Curtain with Fondazione Pergolesi Spontini of Jesi. Many wonderful theaters are owned by the Foundation in one of the most picturesque corners of the Marches, is an opportunity for personal and professional growth and stylistic depth that coincides with the celebrations of the tercentenary of Pergolesi. I have already had occasion to examine certain aspects of the University Pergolesi time with the late Professor Francis brilliant degradation, but go looking musicology at the musical performance is uplifting and practical source of reflection. In April I was approached for the first time - thanks to the suggestions Maestro Vincenzo De Vivo - two roles and I really like Pergolesi: Emirenus in some areas in Syria and in the Giustina Flaminio, performing "instrumental" in Pergolesi's vocal style is all in the service of the sung word, evocative and full "contrast" typically Baroque.

I worked the score with Maestro Morgan and by voice with Maestro Paul Barbacini. I opened an unknown world: the baroque. In fact, in the past I have approached the study of Purcell's Dido and crowning Monteverdi's Ottavia, and even performed the Gloria and Magnificat by Vivaldi, Pergolesi, but it is another world and still fascinates me, kidnap me. The music is sensual and evocative.

Now to dilute my thoughts of study, I put some pictures of the beautiful moments spent with colleagues from Project Curtain ... surely this post is not complete and will add more photos and thoughts.

outside the Teatro Pergolesi after a fun pizza party together

after Spontini concert at the Theater Curtain Project with colleagues,

the soprano Valeria Esposito - our teacher - and his little Lara

Nys Driver License Temporary Visitor Expired

Rigoletto Fano Ferrara

A tribute to the Renaissance Ferrara, this production of Rigoletto with the finished yesterday afternoon at the Teatro Comunale di Ferrara. Transposition of Mantua to Ferrara. Here are some photos of the back stage of this adventure: beautiful acoustics, lighting and really wonderful to reflect on three roles for me (Countess Ceprano, Giovanna and Maddalena's cover).

smiling before an orchestra rehearsal

with director Maria Cristina Osti after the performance of Rigoletto

the beautiful Ferrara after rain

in the role of the Countess of Ceprano first of a performance of Rigoletto

the poster

Verdi's music is full of this sense of belonging patriotism, of our whole of Italy, the story of our microcosms and of facets (such as medieval and Renaissance Italian reality, reality city, small provincial towns, our wine, our tastes), distills its smells, the moods and tastes of the Po Valley.

I am the daughter of the Po Valley, Bergamo combative, determined and headstrong daughter of the land of the 'Tree of Wooden Clogs "Olmi, daughter of the simple things, the province, I love the countryside areas of Mantua, Ferrara and Busseto, love even the fog and the banks of the Po

Reflecting on the settings I imagined this production of Rigoletto as a return to what are my roots and communal farmers, my attachment to history and places. I went to growing evidence in the car, was a journey of thought to get into another era.

Another thing, in my opinion, on which we must think about thinking of Rigoletto is the unconditional love of parents for their children - the sentence that moves me most is to hear a work by Gilda Rigoletto, "the my world in you. "

Yesterday my parents were in the room, thanks to them and their enormous sacrifices I've been able to study singing, what I loved, and I sang for them yesterday and the dual role of the lover of Countess Jeanne-Judah (in time for Lenten cheat guild money has a metaphorical higher, Gilda was almost a sacrificial lamb, as if by his death to redeem that world and purge it from all the meanness).

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11 to 16 April 2010 anniversary of the landing of a Thousand at Marsala

CADirezione WEAPONS
Amateur Radio Association Italian sailors
CA Department ARI Italian Amateur Radio Association


11 to 16 April 2010 anniversary of the landing of a Thousand at Marsala: An event dedicated all'illustrissimo General Garibaldi, to be held in Genoa and Trapani with a magnificent race called "Garibaldi Tall Ships Regatta 2010.

arms set up a special QSL Award with ARI and along with Genoa and Trapani will operate from ports throughout the period of race and the event. Hoping

good radio links for this important event, I welcome the opportunity to send you all the best 73 'Francesco de
IK0UAG
Rome
writing WEAPONS N. 448 Amateur Radio Association Italian sailors
francesco.berio @ gmail.com

The School Of Rock Streaming

The bell and the carnival atmosphere


I decided to open my blog today because tonight there will be before the bell G. Donizetti at the Teatro della Fortuna in Fano and I will give my life to Madame Rosa, finally a comic role. I loved her very much because it is very different to me. Meanwhile, enjoy some pictures from behind the scenes "of the General last night.


with the legendary Alfonso Antoniozzi, my Don Annibale


with director Mauro Avogadro


with Maestro Matteo Beltrami


with Vultaggio and Beltrami


with the assistant director Ola Cavagna


with Mirca Rosciani


with actor Martin d'Amico (Spyridon in Bell)


with Chiara and Tarabotti Giorgia Borgaccio

Here are some nice shots of the "masquerade" which followed the second performance of the Bell Fano:


with Chiara Tarabotti for the occasion becomes a Pierrot


with Alice and Rachel, the secretary of the Art Theatre of Fortune


with Giorgia Borgaccio


with Maestro Beltrami transformed into original page Renaissance!


with Roberto De Candia and his girlfriend Daniela


Serena Magi with the costume designer and seamstresses Carbonari Elena and Anna Albano


with the Superintendent Simone Brunetti


with my husband Cesare


with Stefania Donzelli


Some thoughts on Madame Rosa and Bell:

Donizetti, as a great man of the theater he was, he conceives dialogues between Madame Rose and Don Annibale in a crescendo of double meanings (which are also in the recitatives of 1837 - eg. words like gallops, galloping, breast, etc.). The diction and timing are essential theatrical comedy-shoulder to bring out the ridiculousness inherent in the text.
The scene of the "key" in our reading, was intended as a tribute to the sexy Italian comedy from the 50s - 60's and a parody of erotic movie page (the Sandrelli in The Key and Tinto Brass all his films). This is a comic character like that awkward and funny and exasperating or on my nerves, no half measures. The instances of parody for the construction of this character are: walks up the pin as the Monroe in "Some Like It Hot" (obviously exaggerated and ridiculed), the famous strip of Loren Mastroianni (but rebuilt in the second version of the two actors in modern times), Anna Magnani in Bellissima (Serafina when he sings), the comedy of the Vitti "cabbage", the film Malizia by Samperi Thanks to aunt etc.. - Two hours of makeup and wigs to aging and the elderly and the game abbruttimento and nymphomaniac ugly (I think even the Mazzamauro Fantozzi in the series) is made, a minimum charge of citations made to the Italian cinema through the comedy of a lens distorted by exaggerated ' carnival atmosphere.