Apr 192013
 

Norma Cecilia Bartoli 500x454 Bartolis back on the treasure trail with her Norma videoAfter offer­ing clues taken from ‘webisodes’ filmed dur­ing the record­ing of ’s cd , which even­tu­ally led to the name of the com­poser fea­tured on the disc, Decca are being cun­ning again by offer­ing ‘exclus­ive con­tent’ to stir up interest in La Ceci’s latest project.

Fol­low­ing this link, it is pos­sible to play a little game to recon­struct the cover of Norma, fig­ur­ing Bar­toli as she will pre­sum­ably be styled for the Salzburg pro­duc­tion on 17 May; an Anna Mag­nani type, as she appeared in ’s legendary pro­duc­tion of Gio­vanni Verga’s La Lupa in in 1965.

La Lupa Anna Magnani 330x500 Bartolis back on the treasure trail with her Norma video

Anna Mag­nani (with Gian­carlo Gian­nini) in Gio­vanni Verga’s “La Lupa”

If you’d rather not play the game, after 5 minutes it lets you see the video prize any­way: a peek back­stage dur­ing the record­ing of the opera, with Gio­vanni Ant­onini con­duct­ing (as he did on the and Viv­aldi discs). It’s just a 1½ minute promo, but it gets the mouth water­ing any­way. Those of us who caught the con­cert per­form­ances in Dortmund in June 2011 know that this appet­izer will be more than equalled by the main course.

And for those in a hurry who don’t want to wait 5 minutes, you can see the clip dir­ectly on You­Tube!

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  • wp socializer sprite mask 16px Bartolis back on the treasure trail with her Norma video
  • wp socializer sprite mask 16px Bartolis back on the treasure trail with her Norma video
  • wp socializer sprite mask 16px Bartolis back on the treasure trail with her Norma video
  • wp socializer sprite mask 16px Bartolis back on the treasure trail with her Norma video
  • wp socializer sprite mask 16px Bartolis back on the treasure trail with her Norma video
  • wp socializer sprite mask 16px Bartolis back on the treasure trail with her Norma video
  • wp socializer sprite mask 16px Bartolis back on the treasure trail with her Norma video
  • wp socializer sprite mask 16px Bartolis back on the treasure trail with her Norma video
Apr 072013
 

Cecilia Bartoli 375x500 Cecilia Bartoli on her sensual Norma and returning to La Scala

“It will not be a nor­mal Norma!” joked to the Cor­ri­ere della Sera’s Giusep­pina Manin. A joke that works bet­ter in Italian: “Sarà una Norma fuori norma!”

She has sung the role in con­cert form in June 2011 in Dortmund, Ger­many. Now comes the stage per­form­ance in Salzburg, the CD and the com­mem­or­ative t-shirt.

She won’t be a god­dess or a heroine from Greek tragedy, but a real woman; a fiery south­ern woman ready to defy gods and men for the love of Pollione.

… An type, an image of blaz­ing sen­su­al­ity that’s been my model right down to her look: loose uncombed hair and a tight black dress pro­voc­at­ively low-cut. The pro­duc­tion will have a neor­eal­ist look pay­ing homage to the cinema of Ros­sellini.… [con­tinue reading]

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Jul 172012
 

Cecilia Bartoli Mission Be afraid. Be very afraid...  Cecilia Bartolis on a mission: her new albumBe afraid. Be very afraid…   is set to erad­ic­ate evil. No, she’s not going out to exor­cise the hor­rors of the cros­sover, but releas­ing a new cd called  with the Swiss group I Baroc­chisti  dir­ec­ted by Diego Fasolis.

And that’s it.

Decca, with their usual mar­ket­ing cun­ning, aren’t giv­ing away more than this at present. Obvi­ously hop­ing for a viral cam­paign they have cre­ated a site where it will be pos­sible to enter clues taken from ‘webisodes’ about the record­ing of the disc.

The first is here, with Bar­toli arriv­ing at the record­ing venue, being houn­ded by a TV crew. Each clip con­tains a clue which, when entered in the site, will allow access to ‘secret con­tent’ of ‘Mis­sion’ — like who the com­posers are, one hopes.… [con­tinue reading]

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Feb 082012
 

Giuseppe Picone Giuseppe Picone answers the Gramilano Questionnaire… Dancers’ Edition

Q&A

When did you start dan­cing?
I star­ted when I was 10 years old at the Teatro San Carlo bal­let school in Naples.

Why did you start dan­cing?
My elder brother Raf­faele took me to the audi­tion and I fell in love with bal­let imme­di­ately. Till then I had no idea of what bal­let was.

Which dan­cer inspired you most as a child?
Abso­lutely: Rudolf Nureyev.

Which dan­cer do you most admire?
I admire and respect Julio Bocca.

What’s your favour­ite role?
Albrecht in Gis­elle.

What role have you never played but would like to?
Scheherazade is an amaz­ing ballet!

What’s your favour­ite bal­let to watch?
When you like bal­let you like to watch all of them.

Who is your favour­ite cho­reo­grapher?[con­tinue reading]

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Jan 152012
 

Q&A

Vito Mazzeo Vito Mazzeo answers the Gramilano Questionnaire… Dancers’ EditionWhen did you start dan­cing?
At 9 years old.

Why did you start dan­cing?
I saw Carla Fracci dancing.

Which dan­cer inspired you most as a child?
Carla Fracci and for their great partnership.

Which dan­cer do you most admire?
Sylvie Guillem for the light that eman­ates when she dances; Massimo Murru for the very per­sonal and nat­ural way to por­tray dif­fer­ent characters.

What’s your favour­ite role?
Col­onel Ver­shinin in “Winter Dreams” by Sir .

What role have you never played but would like to?
Crown Prince Rudolf in “May­er­ling” by Sir Ken­neth MacMillan.

What’s your favour­ite bal­let to watch?
“Sym­phonic Vari­ation” by Sir Fre­d­er­ick Ashton.

Who is your favour­ite cho­reo­grapher?
Too many, Ashton, Mac­Mil­lan, Pis­toni, Nureyev, Tudor etc…

Who is your favour­ite writer?[con­tinue reading]

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Jan 022011
 

Carmen Anna Anni2 Anna Anni, costume designer for Orson Welles and Franco Zeffirelli, has died at 84After design­ing cos­tumes for two Orson Welles pro­jects in 1953, Anna Anni worked for more than 50 years at the top. Maria Cal­las, Mon­ser­rat Caballè, , Pla­cido Domingo, Carla Fracci, , Anna Mag­nani, Valentina Cortese e Fanny Ard­ant all wore her costumes.

A designer obsessed with detail, and one of the first to redis­cover tech­niques for cre­at­ing period cos­tumes, she worked not just in theatre but also in cinema, where her atten­tion to detail could be appre­ci­ated in lov­ing close-up by her col­league and friend ; she designed the films of Oth­ello, Tea with Mus­solini and Cal­las Forever.

Her real home was in the theatre. For the Ver­ona Arena and the Met­ro­pol­itan Opera in New York she cre­ated cos­tumes for some of their most cel­eb­rated operas: Aidas, Tur­an­dots and Car­mens.… [con­tinue reading]

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