Friday, July 12, 2024

NAHUI (P. Cacucci, 2005, 2006) - Maria Teresa De Donato’s Opinion


(P. Cacucci, 2005, 2006)

Maria Teresa De Donato’s Opinion


The story of Carmen Mondragón (1893-1978), also known as Nahui Olin, painter, poet, and artists' muse, considered "the most beautiful woman in Mexico City" is described in this compelling novel by Pino Cacucci.

Nahui is a cultured, intelligent, refined, beautiful, and equally seductive woman who frequents the most sought-after and prominent environments of the time, including cultural salons and studios of the most significant artists of her time by whom she is admired, courted, and even loved. Intense passions and poignant loves are experienced with absolute spontaneity and authenticity, without taboos, shame, or false modesty.

It is a novel that I found particularly fascinating. It is rich in history, and its protagonist, leading the reader into her own world, reveals herself to him completely. She shares her rich and tumultuous past and offers him, at the same time, the opportunity to reflect on fundamental themes of human existence.

The reader will be enraptured by the charm of the character and of the era, as well as by the incredible intelligence of this woman who, despite having been condemned to an old age of hardship and the fading of her beauty, maintains the awareness of her own value, identity, and dignity intact until the end of her life.

Nahui is, therefore, not only a fascinating journey into the life of its protagonist but also an immersion in an era endowed with particular charm and a culture that, unfortunately, seems to have been lost and that absolutely must be recovered. =1703621539&sprefix=nahui+%2Caps%2C326&sr=8-1


This article was also published at the following link: Nahui.

NAHUI (P. Cacucci, 2005, 2006) - Opinione di Maria Teresa De Donato


(P. Cacucci, 2005, 2006)


Opinione di Maria Teresa De Donato


La storia di Carmen Mondragón (1893-1978), conosciuta anche come Nahui Olin, pittrice, poetessa e musa di artisti, considerata “la più bella donna di Città del Messico” viene descritta in questo avvincente romanzo di Pino Cacucci.

Nahui è una donna colta, intelligente, raffinata, bellissima e altrettanto seducente che frequenta gli ambienti più ricercati e in vista dell’epoca, tra cui salotti culturali e studi dei maggiori artisti del tempo da cui è ammirata, corteggiata e anche amata. Intense passioni, amori struggenti, tutto è vissuto con assoluta spontaneità e autenticità, senza tabù, senza vergogna né falsi pudori.

È un romanzo che ho trovato particolarmente affascinante, ricco di storia, la cui protagonista, conducendo il lettore nel suo proprio mondo, gli si rivela a nudo, condividendo il suo ricco e tumultuoso passato e offrendogli, al tempo stesso, l’opportunità di riflettere su temi fondamentali dell’umana esistenza.

Il lettore verrà rapito dal fascino del personaggio e dell’epoca nonché dalla grande intelligenza di questa donna che, pur essendo stata condannata ad una vecchiaia di stenti e allo sfiorire della propria bellezza, mantiene intatta sino alla fine la consapevolezza del proprio valore e della propria dignità.

Nahui è dunque non solo un affascinante viaggio nella vita della sua protagonista, ma anche un’immersione in un’era dotata di particolare charm e di una cultura che, purtroppo, sembra essere andata persa e che va assolutamente recuperata.


Questo articolo è stato pubblicato anche al seguente link: Nahui

NAHUI (P. Cacucci, 2005, 2006) - Maria Teresa De Donatos Meinung


(P. Cacucci, 2005, 2006)


Maria Teresa De Donatos Meinung


Die Geschichte von Carmen Mondragón (1893-1978), auch als Nahui Olin bekannt, Malerin, Dichterin und Künstlermuse, die als „die schönste Frau in Mexiko-Stadt“ gilt, wird in diesem fesselnden Roman von Pino Cacucci beschrieben.

Nahui ist eine kultivierte, intelligente, raffinierte, schöne und gleichermaßen verführerische Frau, die die begehrtesten und prominentesten Umgebungen ihrer Zeit besucht, darunter Kultursalons und Ateliers der bedeutendsten Künstler ihrer Zeit, von denen sie bewundert, umworben und sogar geliebt wird. Intensive Leidenschaften, ergreifende Lieben, alles wird mit absoluter Spontaneität und Authentizität erlebt, ohne Tabus, ohne Scham oder falsche Bescheidenheit.

Es ist ein für mich besonders faszinierender, geschichtsträchtiger Roman, dessen Protagonistin, die den Leser in ihre eigene Welt entführt, sich ihm nackt offenbart, ihre reiche und turbulente Vergangenheit teilt und ihm gleichzeitig die Möglichkeit zum Nachdenken bietet zu grundlegenden Themen der menschlichen Existenz.

Der Leser wird von dem Charme der Figur und der Epoche sowie von der großen Intelligenz dieser Frau begeistert sein, die trotz ihres Schicksals in einem hohen Alter und dem Verblassen ihrer Schönheit das Bewusstsein für sich selbst bewahrt Wert und ihre eigene Würde bleiben bis zum Ende erhalten.

Nahui ist daher nicht nur eine faszinierende Reise in das Leben seines Protagonisten, sondern auch ein Eintauchen in eine Ära mit besonderem Charme und einer Kultur, die leider verloren zu sein scheint und unbedingt wiederhergestellt werden muss. =1703621539&sprefix=nahui+%2Caps%2C326&sr=8-1


Dieser Artikel wurde auch unter folgendem Link veröffentlicht: Nahui

Thursday, July 4, 2024

Goffredo Petrassi

(Zagarolo, July 16th, 1904 – Rome, March 3rd, 2003)

Having begun his musical studies relatively late, he studied with Bustini and Germani at S. Cecilia in Rome, where he taught since 1939. From 1937 to 1940, he was superintendent of the Fenice in Venice and, from 1947 to 1950, artistic director of the Accademia Filarmonica Romana, while from 1954 to '56, he presided over the International Society of Contemporary Music. He carried out an intense teaching activity (since 1958, he was the holder of the specialization course for composers at the Accademia di S. Cecilia in Rome) and presented himself publicly as director of his own compositions.

Petrassi's musical journey was marked by a unique blend of influences and a distinct personal style. Initially drawn to the neoclassical style, he soon developed a language of his own. His compositions were characterized by a rich sense of vocality and an airy polyphony, setting him apart as one of the leading figures of Italian 'neo-madrigalism' alongside Dallapiccola. After the Second World War, his focus shifted to instrumental forms, showcasing his versatility and adaptability.

Alien - at least initially - from any twelve-tone influence, his spirit soon led him to follow with interest the developments of the new serial techniques, and without ever openly assuming Schoenberg's method, he has absorbed its spirit in an exemplary manner in his most recent production. The acquisitions of "serial music," defined in Darmstadt, found an attentive observer in Petrassi, who adopted a freely chromatic and atonal language, at times even approaching the principle of "hazard," inaugurated by Boulez and Stockhausen.

Petrassi's musical journey was a testament to his refusal to conform to trends. Instead, he chose to elaborate and mature elements of language already present in his early compositions, evaluating them in the context of the evolving European musical consciousness. This approach led him to a unique musical identity, and he remains a dynamic figure in the music world, constantly seeking new avenues of exploration and research
As has been said, vocal music played a leading role in Petrassi: in addition to the works Il Cardavano (1949) and Morte dell'aria (1950), we remember Psalm IX for choir, orchestra, and two pianos (1936), Coro of deaths (1941) and Noche obscure (1950), as well as some lyrics and hymns for voice and instruments or voice and piano. In the field of chamber music, he is the author of a quartet (1956), the Serenade for Five Instruments (1958), a Trio (1959), and various pieces for piano. He also composed 2 ballets, stage music, and film music.

Partita (1932)

Similarly to Dallapiccola and Ghedini, Petrassi begins his orchestral production with a Partita, which means a direct and intentional connection to ancient Italian instrumental music (typical of the second half of the 1600s), in the aspiration to renew and restore modern meaning to a classical form favored by the ancient masters. Furthermore, the musician relives the spirit of Italian baroque music in an entirely wholly modern and personal way: and what is typically Italian in the Partita is the luminous and relaxed melodic discourse, the vigorous rhythm, the energetic and straightforward instrumental, a fundamentally diatonic language with clearly tonal bases. Furthermore, the influences of significant contemporary musicians are also clear, from Bartòk to Stravinski (about the latter, note the veiled quotation from the Firebird, entrusted to the saxophone in the first movement), so that the Partita is the testimony of a musician engaged in an operation of linguistic renewal who on the other hand does not want to deny his own tradition.

The succession of the three movements is that of the classical concerto: "Gagliarda" ('Mosso ed energico' in 3/4), "Ciaccona" ('Molto moderato' in 3/2, perhaps the best piece of the composition), and "Giga" ('Gaio e luce' in 12/8-4/4), the most brilliant piece of the entire Partita. 

Goffredo Petrassi

(Zagarolo, 16 luglio 1904 – Roma, 3 marzo 2003)

Iniziati relativamente tardi gli studi musicali, Ii compì con Bustini e Germani a S. Cecilia di Roma, dove insegnava dal 1939. Dal 1937 al '40 è stato sovrintendente della Fenice a Venezia e dal 1947 al '50 direttore artistico dell'Accademia Filarmonica Romana, mentre dal 1954 al '56 ha presieduto la Società Internazionale di Musica Contemporanea. Svolgeva intensa attività didattica (dal 1958 è stato titolare del corso di perfezionamento per compositori dell'Accademia di S. Cecilia a Roma) e si è presentato in pubblico anche come direttore di composizioni proprie.

Petrassi entrò ben presto in contatto con la migliore tradizione italiana vocale e strumentale del '500-'600. Pur risentendo inizialmente l'influenza dello stile neoclassico, individuò poi un linguaggio personale, caratterizzato da un ampio senso della vocalità e da un'ariosa polifonia: in questo senso è stato, accanto a Dallapiccola, tra i maggiori rappresentanti di ciò che è stato chiamato "neomadrigalismo" italiano, mentre dopo la seconda guerra mondiale il suo interesse si è spostato con maggior frequenza alle forme strumentali.

Alieno - almeno inizialmente - da ogni influenza dodecafonica, il suo spirito lo portò ben presto a seguire con interesse gli sviluppi delle nuove tecniche seriali; e senza mai assumere apertamente la tecnica schonberghiana, ne ha assorbito esemplarmente lo spirito nella produzione più recente. Le acquisizioni della "musica seriale," definitasi a Darmstadt, hanno trovato in Petrassi un osservatore attento, che ha adottato un linguaggio liberamente cromatico e atonale avvicinandosi a tratti perfino al principio della "alea," inaugurato da Boulez e Stockhausen.

Nella parabola compiuta da Petrassi si individua peraltro un'evoluzione assai coerente. Egli non ha mai ubbidito alla moda corrente, ma ha elaborato e maturato elementi di linguaggio già presenti nelle prime composizioni, vagliandoli al livello dell'attuale coscienza musicale europea: ha trovato cosi la strada della propria individuazione, e rimane a tutt'oggi una personalità in divenire, ricca di fermenti, amante della ricerca, interessante in ogni sua nuova produzione.

Come si è detto, in Petrassi ha svolto un ruolo di primo piano la musica vocale: oltre alle opere Il Cardavano (1949) e Morte dell'aria (1950) ricordiamo il Salmo IX per coro, orchestra e due pianoforti (1936), Coro di morti (1941) e Noche oscura (1950), oltre ad alcune liriche e inni per voce e strumenti o voce e pianoforte. Nel campo della musica da camera è autore di un quartetto (1956), della Serenata per cinque strumenti (1958), di un Trio (1959) e di vari pezzi per pianoforte. Ha composto anche 2 balletti, musica di scena e per film.

Partita (1932)

Analogamente a Dallapiccola e Ghedini, Petrassi inizia la sua produzione orchestrale con una Partita: il che significa allacciamento diretto e intenzionale all'antica musica strumentale italiana (tipica della seconda metà del '600), nell'aspirazione a rinnovare e ridar significato moderno a una forma classica prediletta dagli antichi maestri. Il musicista rivive peraltro in maniera tutta moderna e personale lo spirito della musica barocca italiana: e di tipicamente italiano vi è nella Partita il discorso melodico luminoso e disteso, il ritmo vigoroso, lo strumentale energico e limpido, un linguaggio fondamentalmente diatonico a basi chiaramente tonali. Chiare sono d'altronde anche le influenze dei maggiori musicisti contemporanei, da Bartòk a Stravinski (si noti a proposito di quest'ultimo la velata citazione dall'Uccello di fuoco, affidata al saxofono nel primo tempo), sì che la Partita è la testimonianza viva di un musicista impegnato in un'operazione di rinnovamento di linguaggio che non vuole d'altra parte rinnegare la propria tradizione.

La successione dei tre tempi è quella della partita classica: "Gagliarda" ('Mosso ed energico' in 3/4), "Ciaccona" ('Molto moderato' in 3/2, forse il brano migliore della composizione) e "Giga" ('Gaio e leggerò in 12/8-4/4), il pezzo più brillante dell'intera Partita.   

Goffredo Petrassi

(Zagarolo, 16. Juli 1904 – Rom, 3. März 2003)

Nachdem er relativ spät mit dem Musikstudium begonnen hatte, studierte er bei Bustini und Germani an der S. Cecilia in Rom, wo er seit 1939 lehrte. Von 1937 bis 1940 war er Superintendent des Fenice in Venedig und von 1947 bis 1950 künstlerischer Leiter der Accademia Filarmonica Romana, während er von 1954 bis 1956 der Internationalen Gesellschaft für zeitgenössische Musik vorstand. Er übte eine intensive Lehrtätigkeit aus (seit 1958 war er Inhaber des Spezialisierungskurses für Komponisten an der Accademia di S. Cecilia in Rom) und präsentierte sich in der Öffentlichkeit auch als Regisseur eigener Kompositionen.

Petrassi kam bald mit der besten italienischen Gesangs- und Instrumentaltradition des 15. und 18. Jahrhunderts in Kontakt. Obwohl er zunächst den Einfluss des neoklassizistischen Stils zu spüren bekam, entwickelte er dann eine persönliche Sprache, die sich durch einen breiten Sinn für Gesang und eine luftige Polyphonie auszeichnete: In diesem Sinne war er neben ihm bis hin zu Dallapiccola, einem der größten Vertreter des sogenannten italienischen „Neomadrigalismus“, während sich sein Interesse nach dem Zweiten Weltkrieg zunehmend auf instrumentale Formen verlagerte.

Da er – zumindest anfangs – jeglichem Zwölfton-Einfluss fremd war, führte ihn sein Geist bald dazu, die Entwicklungen neuer serieller Techniken mit Interesse zu verfolgen; und ohne sich Schönbergs Technik jemals offen zu eigen zu machen, hat er deren Geist in seiner jüngsten Produktion auf vorbildliche Weise aufgenommen. Die in Darmstadt definierten Errungenschaften der „serielle Musik“ fanden in Petrassi einen aufmerksamen Beobachter, der eine freie chromatische und atonale Sprache annahm, die sich zuweilen sogar dem von Boulez und Stockhausen eingeführten Prinzip des „Hazard“ näherte.

Darüber hinaus lässt sich in dem Gleichnis von Petrassi eine sehr kohärente Entwicklung erkennen. Er hat sich nie der aktuellen Mode unterworfen, sondern Sprachelemente, die bereits in den ersten Kompositionen vorhanden waren, ausgearbeitet und ausgereift und sie auf der Ebene des aktuellen europäischen Musikbewusstseins bewertet: Er hat so den Weg zu seiner eigenen Identifikation gefunden und bleibt bis heute bestehen eine Persönlichkeit im Wandel, voller Spannung, Liebhaber der Forschung, interessant in jeder neuen Produktion.

Wie gesagt, die Vokalmusik spielte bei Petrassi eine führende Rolle: Neben den Werken Il Cardavano (1949) und Morte dell'aria (1950) erinnern wir uns an Psalm IX für Chor, Orchester und zwei Klaviere (1936), Coro of Deaths (1941) und Noche obscure (1950) sowie einige Texte und Hymnen für Gesang und Instrumente oder Gesang und Klavier. Im Bereich der Kammermusik ist er Autor eines Quartetts (1956), der Serenade für fünf Instrumente (1958), eines Trios (1959) und verschiedener Stücke für Klavier. Er komponierte außerdem zwei Ballette, Bühnenmusik und Filmmusik.

Spiel (1932)

Ähnlich wie Dallapiccola und Ghedini beginnt Petrassi seine Orchesterproduktion mit einer Partita: Dies bedeutet eine direkte und bewusste Verbindung zur alten italienischen Instrumentalmusik (typisch für die zweite Hälfte des 17. Jahrhunderts) mit dem Bestreben, die moderne Bedeutung eines Klassikers zu erneuern und wiederherzustellen Form, die von den alten Meistern bevorzugt wurde. Darüber hinaus lässt der Musiker den Geist der italienischen Barockmusik auf ganz moderne und persönliche Weise wieder aufleben: Und was typisch italienisch in der Partita ist, ist der leuchtende und entspannte melodische Diskurs, der kraftvolle Rhythmus, das energische und klare Instrumental, eine grundsätzlich diatonische Sprache mit deutlich tonale Grundlagen. Darüber hinaus sind auch die Einflüsse der wichtigsten zeitgenössischen Musiker deutlich zu erkennen, von Bartòk bis Strawinski (bezüglich Letzterem beachten Sie das verschleierte Zitat aus dem Feuervogel, das im ersten Satz dem Saxophon anvertraut wurde), so dass die Partita das lebendige Zeugnis eines Musikers ist, der sich einer sprachlichen Erneuerung widmet und andererseits seine eigene Tradition nicht verleugnen will.

Die Abfolge der drei Sätze entspricht der des klassischen Konzerts: „Gagliarda“ („Mosso ed energico“ im 3/4-Takt), „Ciaccona“ („Molto moderato“ im 3/2-Takt, vielleicht das beste Stück der Komposition) und „Giga“ („Gaio e luce“ im 12/8-4/4), das brillanteste Stück der gesamten Partita. 

Wednesday, June 26, 2024

Istanbul (O. Pamuk, 2006) - Maria Teresa De Donato’s Opinion


(O. Pamuk, 2006)


Maria Teresa De Donato’s Opinion



Reading the first twenty pages of this book was a challenge. Having read thousands of books, I concluded that you might assume you are reading a good one based on its start and that there was no reason to continue reading if the book did not attract you from the beginning.

Therefore, I was on the verge of giving in and giving up on reading it.

However, while a part of me felt frustrated not being able to understand where the author was heading with it, a little internal voice encouraged me to keep reading it, suggesting I approach it from a different perspective—from another angle—as if I were about to discover a hidden treasure.

I am so happy to have listened to my instincts and, after overcoming this uncertainty about what to do, wholly immersed myself - body and soul - in reading this excellent autobiographical novel.

A world opened up to me! I was reading an image reflected in the mirror!

Istanbul, what it has been over the centuries, is reflected in the life and heart of the author just as the author is reflected in the city. All the changes that have occurred over the years, but also and above all over the centuries, are examined and retraced by Orhan Pamuk:

• the splendor of Istanbul from antiquity until its accelerated decline caused by admiration and the consequent desire for 'Westernization';

• the speed and equally dramatic nature with which a thousand-year-old culture - Byzantine and Ottoman - is swept away by the much coveted 'modernity';

• its splendid and once luxurious and prestigious buildings overlooking the Bosphorus Strait, now abandoned to their fate;

• an ancient and equally fascinating culture based on high values demolished in the space of a few decades;

• an artistic, cultural, and historical wealth thrown into the garbage and sacrificed to the God of Modernity and Consumerism.


A heartfelt thank you to Prof. Orhan Pamuk, the famous Turkish writer, screenwriter, and professor of comparative literature at Columbia University, for this splendid work and for making me fall in love with his hometown, which I hope to visit someday.

I recommend it to everyone, especially lovers of history and foreign cultures and those who wonder whether destroying peoples' cultural roots is wise. =1703625070&sprefix=istanbul%2Caps%2C278&sr=8-3


This article was also published at the following link: Istanbul


Istanbul (O. Pamuk, 2006) - Opinione di Maria Teresa De Donato


(O. Pamuk, 2006)


Opinione di Maria Teresa De Donato



Leggere le prime venti pagine di questo libro è stata una sfida. Avendo letto migliaia di libri ero giunta alla conclusione che il buongiorno si vedesse dal mattino e che, quindi, se il libro non mi attirasse sin dall’inizio, non ci fosse motivo per continuarne la lettura.

Sono stata, perciò, lo confesso, sul punto di cedere e di rinunciare a leggerlo.

Tuttavia, mentre una parte di me si sentiva frustrata non riuscendo a capire dove volesse andare a parare l’autore... una vocina interna mi incoraggiava a continuare... mi suggeriva di approcciare la lettura di questo libro da un’ottica diversa... da un’altra angolazione... come se fossi in procinto di scoprire un tesoro nascosto.

Sono felicissima di aver prestato ascolto al mio istinto e, dopo aver superato questo momento di incertezza sul da farsi, di essermi immersa completamente – anima e corpo – nella lettura di questo stupendo romanzo autobiografico.

Mi si è aperto un mondo! Stavo leggendo una immagine riflessa nello specchio!

Istanbul, ciò che è stata nei secoli, si riflette nella vita e nel cuore dell’autore così come l’autore si riflette nella città. Tutti i cambiamenti che sono avvenuti nel corso degli anni, ma anche e soprattutto dei secoli, vengono esaminati e ripercorsi da Orhan Pamuk:

  •  lo splendore di Istanbul dall’antichità fino al suo declino accelerato e provocato dall’ammirazione e conseguente desiderio di ‘occidentalizzazione’;

  • la velocità e altrettanta drammaticità con cui una cultura millenaria – bizantina e ottomana – viene spazzata via dalla tanto ambita ‘modernità’;

  •  i suoi splendidi e un tempo lussuosi e prestigiosi edifici che si affacciano sullo Stretto del Bosforo abbandonati ora al loro destino;

  •  una cultura antica e altrettanto affascinante basata su alti valori demolita nel giro di pochi decenni;

  •  una ricchezza artistica, culturale e storica gettata nella spazzatura e immolata al Dio della Modernità e del Consumismo. 

Un grazie di cuore al Prof. Orhan Pamuk, famoso Scrittore turco, Sceneggiatore e Professore di Letterature Comparate alla Columbia University, per questo splendido lavoro e per avermi fatto innamorare della sua città che spero, un giorno non lontano, di visitare.

Un libro che consiglio a tutti, soprattutto agli appassionati di storia e di culture straniere, nonché a coloro che si chiedono se distruggere le radici culturali dei popoli sia cosa saggia o meno.


Questo articolo è stato pubblicato anche al seguente link: Istanbul


Istanbul (O. Pamuk, 2006) - Maria Teresa De Donatos Meinung


(O. Pamuk, 2006)


Maria Teresa De Donatos Meinung


Die ersten zwanzig Seiten dieses Buches zu lesen war eine Herausforderung. Nachdem ich Tausende von Büchern gelesen hatte, war ich zu dem Schluss gekommen, Ich bin zu dem Schluss gekommen, dass man daran erkennen kann, ob ein Buch lesenswert ist, wie es beginnt und dass es daher keinen Grund gibt, es weiterzulesen, wenn uns das Buch nicht von Anfang an anspricht.

Deshalb war ich, das gestehe ich, kurz davor, nachzugeben und die Lektüre aufzugeben.

Während ein Teil von mir jedoch frustriert war, nicht zu verstehen, wohin der Autor damit wollte, ermutigte mich eine kleine innere Stimme, weiterzumachen, und schlug vor, dieses Buch aus einer anderen Perspektive zu lesen ... als ob es einen verborgenen Schatz entdecken würden.

Ich bin so glücklich, auf meine Instinkte gehört zu haben und mich, nachdem ich diesen Moment der Unsicherheit darüber überwunden habe, was ich tun soll, mit Leib und Seele völlig in die Lektüre dieses wunderbaren autobiografischen Romans vertieft zu haben.

Eine Welt öffnete sich für mich! Ich las ein Bild, das sich im Spiegel spiegelte!

Istanbul, wie es im Laufe der Jahrhunderte war, spiegelt sich im Leben und Herzen des Autors wider, genauso wie sich der Autor in der Stadt widerspiegelt. Alle Veränderungen, die im Laufe der Jahre, aber auch und vor allem im Laufe der Jahrhunderte stattgefunden haben, werden von Orhan Pamuk untersucht und nachgezeichnet:

• die Pracht Istanbuls von der Antike bis zu seinem beschleunigten Niedergang, der durch Bewunderung und den daraus resultierenden Wunsch nach „Verwestlichung“ hervorgerufen wurde;

• die Geschwindigkeit und die ebenso dramatische Natur, mit der eine tausend Jahre alte Kultur – byzantinisch und osmanisch – von der so begehrten „Moderne“ hinweggeschwemmt wird;

• seine prächtigen und einst luxuriösen und prestigeträchtigen Gebäude mit Blick auf den Bosporus, die nun ihrem Schicksal überlassen sind;

• eine alte und ebenso faszinierende Kultur, die auf hohen Werten basiert und innerhalb weniger Jahrzehnte zerstört wurde;

• ein künstlerischer, kultureller und historischer Reichtum, der in den Müll geworfen und dem Gott der Moderne und des Konsumismus geopfert wird.


Ein herzliches Dankeschön an Prof. Orhan Pamuk, berühmter türkischer Schriftsteller, Drehbuchautor und Professor für vergleichende Literaturwissenschaft an der Columbia University, für diese großartige Arbeit und dafür, dass er mich in seine Stadt verliebt hat, die ich hoffentlich eines Tages besuchen werde.

Ein Buch, das ich jedem empfehle, insbesondere Liebhabern der Geschichte und fremder Kulturen, aber auch denen, die sich fragen, ob es sinnvoll ist, die kulturellen Wurzeln der Völker zu zerstören oder nicht.


Dieser Artikel wurde auch unter folgendem Link veröffentlicht: Istanbul



Tuesday, June 18, 2024

Henryk Wieniawski


(Lublin [Poland] 10-VII-1835 - Moscow 2-IV-1880)

Having completed his violin studies in Warsaw and Paris, he began to be applauded as a concert performer of the highest class throughout Europe. From 1860 to '72, he was a court violinist in Petersburg and a teacher at the Brussels Conservatory. Still, he never abandoned his concert career, which imposed himself on the world as one of the greatest virtuosos of the century.

Known primarily as a performer, als his production musical must be considered essentially from the point of view of evolution and innovations of violin technique. He grafted the great school of Paganini onto musical sensitivity slava, enriching the violin with unexpected effects and expanding the tonal palette and the tonal palette and technical possibilities. His way of treating the instrument is typically Slavic, not immune to gypsy influences, and he can rightly be considered the initiator and, at the same time, the highest representative of the school of Polish violin playing. In addition to the two concertos for violin and orchestra, he composed a large number of pieces for his instrument, with or without piano and orchestra accompaniment: polonaises, mazurkas, variations, fantasies, miniatures, and studies.

Concert no. 2 in D minor for violin and orchestra op. 22 (1870)

This concerto is a more mature and balanced work than the previous one, and it does not present more significant technical difficulties. Still, it is infinitely more interesting from a musical point of view. There are vibrant and touching melodies, the construction is precise and well delineated, and the technical requirement does not prevail over that expressive. In short, we can rightly say that this work fully deserves the favor that performers and audiences still show today.

Composed in the three traditional tempos, the Concerto is divided as follows: "Allegro moderato" connected without interruption through a short phrase of the solo clarinet, to the following "Romanza" ('Andante non-tanto'), and the final "Allegro moderato (à la zingara )," in which the influences on Wieniawski's style of gypsy violinism are clearly evident.

Henryk Wieniawski

(Lublino [Polonia] 10-VII-1835 - Mosca 2-IV-1880)

Compiuti gli studi di violino a Varsavia e Parigi, iniziò assai presto a farsi applaudire come concertista di altissima classe in tutta Europa e dal 1860 al '72 fu violinista di corte a Pietroburgo. Fu anche insegnante al Conservatorio di Bruxelles, ma non abbandonò mai la carriera concertistica, che lo impose al mondo come uno dei maggiori virtuosi del secolo.                                                        
Noto soprattutto come esecutore, anche la sua produzione musicale va considerata essenzialmente dal punto di vista della evoluzione e delle innovazioni della tecnica violinistica. Egli innestò la grande scuola di Paganini sulla sensibilità musicale slava, arricchendo il violino di effetti impensati, ampliandone la tavolozza timbrica e le possibilità tecniche. Il suo modo di trattare lo strumento è tipicamente slavo, non immune da influssi zigani, ed egli può a buon diritto essere considerato l'iniziatore e insieme il massimo rappresentante della scuola violinistica polacca. Oltre ai due concerti per violino e orchestra, compose una gran quantità di pezzi per il suo strumento, con o senza accompagnamento di pianoforte e di orchestra: polacche, mazurke, variazioni, fantasie, miniature, studi.                                                                                          
             Concerto n. 2 in re minore per violino e orchestra op. 22 (1870)                             
Opera più matura ed equilibrata della precedente, questo Concerto non presenta difficoltà tecniche superiori a quella ma è infinitamente più interessante dal punto di vista musicale. Vi sono melodie vibrate e toccanti, la costruzione è chiara e ben delineata, l'istanza tecnica non prevale su quella espressiva e insomma si può a ragione affermare che questo lavoro merita pienamente il favore che ancora oggi gli dimostrano esecutori e pubblico.

                    Composto nei tre tempi tradizionali, il Concerto è cosi suddiviso:                                            "Allegro moderato" collegato senza interruzione, mediante una breve frase del                        clarinetto solo, alla seguente "Romanza" ('Andante non troppo'), e finale                               "Allegro moderato (à la zingara)," in cui bene si palesano le influenze sullo stile                     di Wieniawski del violinismo zigano.

Henryk Wieniawski

(Lublin [Polen] 10.7.1835 – Moskau 2.4.1880)

Nachdem er sein Violinstudium in Warschau und Paris abgeschlossen hatte, erlangte er bald in ganz Europa Anerkennung als Konzertkünstler der Spitzenklasse und war von 1860 bis 1872 Hofgeiger in Petersburg. Er war auch Lehrer am Brüsseler Konservatorium, gab jedoch nie seine Konzertkarriere auf, die ihn weltweit zu einem der größten Virtuosen des Jahrhunderts machte.

Da er vor allem als Interpret bekannt ist, muss sein musikalisches Schaffen im Wesentlichen auch unter dem Gesichtspunkt der Entwicklung und Innovationen der Geigentechnik betrachtet werden. Er übertrug die große Schule Paganinis auf die slawische Musiksensibilität, bereicherte die Violine mit unerwarteten Effekten und erweiterte ihre Klangpalette und technischen Möglichkeiten. Sein Umgang mit dem Instrument ist typisch slawisch, nicht immun gegen Zigeunereinflüsse, und er kann zu Recht als Initiator und zugleich größter Vertreter der polnischen Violinschule gelten. Neben den beiden Konzerten für Violine und Orchester komponierte er zahlreiche Stücke für sein Instrument, mit oder ohne Klavier- und Orchesterbegleitung: Polonaisen, Mazurkas, Variationen, Fantasien, Miniaturen, Etüden.

Konzert Nr. 2 d-Moll für Violine und Orchester op. 22 (1870)

Dieses Konzert ist reifer und ausgewogener als das vorherige, weist keine größeren technischen Schwierigkeiten auf als das vorherige, ist aber aus musikalischer Sicht unendlich interessanter. Es gibt lebendige und berührende Melodien, der Aufbau ist klar und gut abgegrenzt, der technische Anspruch steht nicht im Vordergrund ausdrucksstark und zusammenfassend können wir mit Recht sagen, dass dieses Werk die Gunst, die ihm Interpreten und Publikum auch heute noch entgegenbringen, voll und ganz verdient.

Das in den drei traditionellen Tempi komponierte Konzert gliedert sich wie folgt: „Allegro moderato“, das ohne Unterbrechung durch eine kurze Phrase der Soloklarinette mit dem folgenden „Romanza“ („Andante non tanto“) und dem abschließenden „Allegro“ verbunden wird moderato (à la zingara)“, in dem die Einflüsse auf Wieniawskis Stil des Zigeunerviolinismus deutlich erkennbar sind.

Monday, June 10, 2024

Being Yourself - Interview by Maria Teresa De Donato

 Being Yourself


Interview with Emanuela Trovato, Actress and Acting Coach



by Maria Teresa De Donato



Sicilian by birth, Roman by adoption, actress, acting coach, wife, mother, and much more: this, in short, is the picture that emerges of her as we get to know her. Emanuela Trovato is an extraordinary woman with a severe appearance, severe indeed, but with a disarming smile and an authentic, warm, friendly personality. When she talks to you, she does it from the heart.


Her profile is fascinating, and her life is quite intense, but I'll leave the floor to her without going further.


Enjoy the reading!


(Photo Emanuela Trovato: Mara Zampariolo©2022-2024. All Rights Reserved)


MTDD: Hi, Emanuela. Welcome to my blog and virtual cultural salon. It's a pleasure to have you here today.


ET: Thanks for the invitation, Maria Teresa. It is a real pleasure to be your guest here and to share my passions with the international audience of your Virtual Cultural Salon.



MTDD: Emanuela, as I mentioned in the introduction, you are Sicilian by birth and Roman by adoption, with "Sicily always in your heart" and by your own admission.


Do you want to tell us about your native land, what you particularly miss, and any adjustments you had to make when moving to Rome?


ET: As you rightly said, I am a Sicilian actress transplanted to Rome. My land is always in my heart because it is a magical place, rich in history, culture, beauty, and traditions, as much as Rome, of course, but that another place is my place; it's as if elsewhere, I always feel a little guest. This is why, to tell the truth, I don't feel "adopted": when I moved, I was already too old, I think, to be able to be.

In particular, I miss the scent of the sea, of nature in bloom. And what about the flavors? The caponata, the pasta alla Norma, the Sicilian cannoli—just thinking about them makes my mouth water! And I kind of miss that sense of family and community that you can feel in Sicily, where I left my loved ones. I must also say that in Rome, I found this great sense of welcome in my circle of friends.

Moving to Rome was an essential step in my personal and professional growth. It was a difficult choice, but one that I found necessary, and in fact, it enriched me a lot and opened up new opportunities. In moments of nostalgia and difficulty, I tried to hold on and make the best of every situation, adapting and managing the challenges, mainly thanks to the support of my husband, Giovanni Carta, also an actor, who always encouraged me to go after you.

Getting used to such a big city was difficult; I had to learn to manage my time differently and adapt to a more frenetic pace of life. However, Rome gave me a lot. Being a nerve center for cinema, theater, and television allowed me to pursue my career as an actress in a national context, as I would not have been able to do if I had stayed down, at least in the early 2000s. Today, when auditions are often done remotely, everything is different.


(Photo Emanuela Trovato: Mara Zampariolo©2022-2024. All Rights Reserved)


MTDD: What do "Sicilianness" and "Romanness" consist of for you, as a woman and also as an actress?


ET: My Sicilian nature has given me great sensitivity and profound expressiveness. Romanity taught me to find my own discipline and the strength not to give up every single day. They are two cultures that complement each other and enrich me. Rome and Sicily are open to the world, and people are used to interacting with other different cultures. Both Sicilian and Roman irony is biting and subtle, with many self-deprecating and sarcastic accents. Ultimately, I find many similarities between the two realities despite the peculiarities of each.



MTDD: For your activities in spreading the Sicilian language, we could describe you as "the actress of Sicilians, ladies and gentlemen, in the world."

How important is preserving the dialect for safeguarding one's cultural roots?


ET: A dire il vero sono ancora agli inizi di quello che mi prefiggo di fare, ovvero contribuire a mantenere in vita la lingua siciliana attraverso lo studio dei classici. Every language is a precious heritage because it preserves the identity of a people. Sicilian, which is, to all intents and purposes, a language with its own dialects, was born even before Italian. It is also a bridge between the past and the present, and many emigrants still speak today what was spoken in Sicily in the 1950s. Especially for those who, like me, no longer live in Sicily, it is a way to return to their roots and feel part of a community even from afar.

It is a privilege and an honor for me to be able to study literary Sicilian with the help of experts, even on ancient and rare documents. For this, I want to thank the Academy of the Sicilian Language and Cademia Siciliana, two very active associations on the web, for studying and protecting Sicilian in its correct forms, including orthographical ones. I didn't imagine my linguistics, language teaching, and language psychology studies could be applied to teaching Sicilian.

As a child, I learned this language on my own by listening to it from my grandparents, and I have always practiced it. However, it was considered unrefined, and parents in the eighties did not encourage its use. Mine were no exception, and I fear this is still the case: many prejudices about its use exist. I hope to convey the image of a Sicilian woman who can also be refined. (Although I don't lack accents of irony and "vastasate", but that is the comic side of my personality, which I jealously preserve despite an apparent coldness.)

In addition to being an actress, I am also an acting coach. I teach acting in Sicilian to people from all over the world, and it excites me to see their enthusiasm for learning more and more about this rich and fascinating language through our online meetings. Then there are the conversations I offer in Sicilian, with Italian and English as the target languages, when necessary. Those moments are no longer just lessons but a blast from the past, and it's a very special journey.


I also teach Sicilian accent to actors and actresses who have to prepare an audition or a scene about a character of Sicilian origins. I realize it is not easy for those not native to the area to give a slight inflection without exaggerating. For this reason, authentic acting coaching starts from the study of the text, usually written in Italian, to arrive at a subtext full of proverbs and sayings. To speak Sicilian, you have to think of Sicilian.

Safeguarding a language like Sicilian is a commitment of all those who love it. To ensure that this precious legacy is not lost and that future generations can continue to know and love the language of their ancestors, we must keep it alive by speaking it.

(Photo Emanuela Trovato: Mara Zampariolo©2022-2024. All Rights Reserved)


MTDD: I know that your husband, Giovanni Carta, is also an actor and that you have a child. How do you juggle family and professional responsibilities and schedules for rehearsals, shows, and so on?


ET: When both partners work in a profession with unpredictable hours and don't have much family support due to distance, as in our case, fitting everything together can be a daily challenge. Being a parent is a full-time job but also a great joy. My husband and I try not to lose sight of the essential things and to enjoy every moment with our son, who arrived 11 years after our long-desired marriage. Family is our priority, and we try reconciling work and family needs. Sometimes, there are more intense work periods, and others are calmer; we adapt to the circumstances. Every now and then, one of us gives up something; we try to understand each other and make time to be together.



MTDD: On your official website, we read: "Each of us plays a role in life, actually many, but we don't always feel 'in part,' and this is the most difficult task: BEING YOURSELF!"


Can you start by telling us about your journey to become an actress and why you chose this career?


ET: Becoming an actress wasn't a dream I had since I was a child. Then, I thought I would be a painter. Yes, I played with characters and stories I imagined, but I wouldn't even dare think about a career as a professional actress. First, because it was instilled in me that being an artist wasn't a real job, and secondly, because I was extremely shy. I was already an adult when I started attending theater courses until I landed at the professional school of the Teatro Stabile in Catania. I left for Rome, continued to train and work and graduated in Literature between one tour and another. My specific area of interest has always been around voice and language. I experimented with different techniques until I came across the Linklater Method to free the natural voice, of which I became a certified teacher.

Nothing was easy. I have had and still have to face many obstacles and moments of discouragement. But my tenacity and passion pushed me to persevere even in the worst times.

Several reasons pushed me to become an actress. First of all, I love acting because the process of getting to the scene allows me to explore myself, the other people involved in the creative phase, my me-character in relation to the other characters, and again, me with regard to the audience, to criticism, to applause. It's a constant challenge. Every role is an opportunity to learn and grow, putting myself in others' shoes.

Being an actress or actor doesn't just mean playing a role; it also means being able to be yourself. It is essential to bring your personality to the stage or set. This is what makes every actor and actress unique and special.

Acting can also be a powerful tool for communication and change. Through theater and cinema, we can tell stories that excite us, make us reflect, and contribute to improving society.


(Photo Emanuela Trovato: Mara Zampariolo©2022-2024. All Rights Reserved)


MTDD: Why do you think it is difficult to 'be yourself' and, for those who were wondering, how do you achieve this coveted goal?


ET: Being yourself is the consequence of introspection, analysis, and choices. However, the journey within oneself is often hindered by social pressures and the fear of judgment. Without even realizing it, we are used to wearing a mask to conform to others, and this suffocates our authenticity, preventing us from being happy. Not being afraid to feel different is essential to expressing your true nature.

Being yourself is a process that requires time and dedication. I have found my way to notice certain automatisms and overcome them thanks to my work on my voice with the Linklater Method, which I have already mentioned. To free your voice, you must learn to free yourself, starting from the body and inevitably passing through what the body reflects: thoughts and emotions. It is a fascinating journey of discovery, which I recommend to all those who carry around useless ballast, which prevents them from flying high.



MTDD: Let's talk about your professional path as an actress. What roles and characters have you played so far, which ones do you feel closest to, and why?


ET: I was lucky enough to frequent classical and contemporary theatre, going on stage from ancient theaters such as Epidaurus in Greece to non-theatrical places such as the Zisa shipyards in Palermo, with very different texts and styles. Among the characters I remained closest to were Cassandra in Le troiane, alongside Ivana Monti, whom I had already joined in the role of her daughter in the comedy Guess Who's Coming to Dinner; Bianca in The Taming of the Shrew, directed, always exciting for me, by Armando Pugliese. In a particular way, I am also linked to the protagonist of Io sono Chiara, a monologue written for me by Francesco Randazzo, which I brought to the stage directed by Giovanni Carta, on the troubled story of a woman who grew up with the ogre who had kidnapped as a child.



MTDD: Are there any roles that particularly attract you but that you haven't had the chance to play yet? If so, can you give us some examples?


ET: I am fascinated by characters tormented by a dark past, by a painful secret, who hide deep inner wounds, and who must face their inner demons. I think of Medea, Lady Macbeth, or Nora from "A Doll's House." But I also love making people laugh and move at the same time, using humor to face life's difficulties. Come to think of it, this is how I try to live real, everyday life.

I would like to try my hand at a contemporary character who reflects the complexities of today's world, especially in cinema and television, which I have attended marginally compared to the theatre until now.

Returning to my monologue, which was a theatrical short that earned me an award for best actress, since it touches on an important theme, I want to work hard to make it live for a long time with an independent production, not only in theater reviews but also in all the circumstances in which we can and must underline our no, as a civil society, to violence against women.



MTDD: What is success for you?


ET: Feeling fulfilled and fulfilled in what I do, knowing that I have given my all and contributed to something positive every single day.

Success for me is not a point of arrival but knowing how to enjoy the journey of continuous personal growth and fulfillment, which goes beyond the professional one.

Pursuing my dreams with passion, expanding my knowledge, expressing my authenticity, creating deep relationships, and leaving a small positive mark on the world are the elements that define my concept of success.


(Photo Emanuela Trovato: Mara Zampariolo©2022-2024. All Rights Reserved)


MTDD: Often, since we were children, we are attracted to certain activities rather than others, and, in our own way, we show a particular inclination toward specific sectors.


How important is it for a parent to identify these dynamics and help the child, in every possible way, to cultivate his talents or, in any case, his natural predispositions?


ET: Recognizing and cultivating the inclinations of one's sons and daughters is fundamental to their development and self-esteem. Suppose they are interested in specific activities or areas, revealing a natural predisposition. In that case, they should be listened to and, within the limits of the parents' possibilities, helped to pursue their dreams. This doesn't mean forcing a path but giving them the freedom to explore and discover their true passions. It is an investment in their future to help them become fulfilled people.



MTDD: In the world of entertainment and especially acting, the voice, like the body, is a fundamental element. Many actors and actresses attended diction courses to 'correct' any accent they had. You, as well as an actress, are also a trainer and coach.


Could you give us some details on this?


ET: The first course I attended was an elocution course, which I taught for six years at the Il Cantiere Teatrale school in Rome. It was fun to teach, and today, many of my former students have gone on to great careers in the entertainment world.

It is a technical subject, among the first that an aspiring actor or actress must learn to make it their own and then "forget" it. It was immediately useful to me because it allowed me to work as a voice-over for radio commercials, answering machines, presentations, and other videos, both corporate and otherwise.

Now that I am a freelance teacher, I hardly propose the study of diction in itself except as part of a broader path that takes into account the person's specific objectives.

Generally, outside of the acting field, those who ask me to work on their diction or voice feel the need to improve their overall communication because they have to speak in public. I think of those who hold webinars and online courses or go on a stage as prestigious as the TEDx Talks, for which I have been a speaker coach since 2020.

Communicating effectively is a 360º path that cannot be reduced to a technical aspect. Otherwise, one risks becoming rigid, barricaded in the rules of diction, and appearing stuck while speaking in public.

For this reason, I created an online study and training path based on Linklater body-voice acting training. It is designed for actors, actresses, and public speakers, but it is open to anyone who wants to experiment and improve because, like Shakespeare, I think that "all the world's a stage and all of us actors" and actresses.


(Photo Emanuela Trovato: Mara Zampariolo©2022-2024. All Rights Reserved)


MTDD: Do you have any projects you're working on that you want to tell us about without revealing too much?


ET: As an actress, I can tell you in advance that I have a new theatrical project in the pipeline together with my husband and an audiovisual project. I look forward to sharing more details. In the meantime, I continue to work behind the scenes as a voice and performance coach and am preparing for my first speech on a TEDx stage, where I was invited as a speaker.



MTDD: Thank you, Emanuela, for participating in this interview. I will be happy to host you in the future to delve deeper into some of your activities.


In the meantime, how can those who wish to follow you or contact you do so?


ET: Thank you for letting me discuss my experience on your blog. And thanks, above all, to the readers! If they are intrigued by some of my activities, I will happily learn more with you. In the meantime, anyone who would like to follow me or contact me can find me in the following ways by 









Or by using my email

See you soon!

(Photo Emanuela Trovato: Mara Zampariolo©2022-2024. All Rights Reserved)