Posts Tagged ‘Opera’

Sonia Arienta presents: “OPERA”

On May 22. 2012
at Circolo dei lettori,
Turin

Sonia Arienta presents her latest book:

OPERA.
Paesaggi visivi, sonori, abitati.
Ambientazioni, drammaturgia del suono e personagginel Melodramma italiano dell’Ottocento.

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“Across virtuosity” on Primo Movimento, RAI Radio 3

On February 29. 2012 on RAI Radio 3, Primo Movimento, at 09:30 (GMT+1) wil be present “Across virtuosity“, the new album of M° Fabrizio Meloni and M° Takahiro Yoshikawa, entirely dedicated to Fantasie on operatic melodies.

http://www.rai.tv/dl/RaiTV/popup/player_radio.html?v=3

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Fabrizio Meloni, clarinet – Takahiro Yoshikawa, piano
Across virtuosity
CD+DVD LIMEN Classic & contemporary

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For album details, please click here.

To purchase the album, please click here.

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Now available on IBS…

Finally the new album of Fabrizio Meloni and Takahiro Yoshikawa is available on IBS….

Fabrizio Meloni, clarinet
Takahiro Yoshikawa, pianist

Across virtuosity

CD+DVD Limen classic & contemporary Black Line

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Click here to purchase the album!!!!

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Sonia Arienta presents: “OPERA”

On December 14. 2011 at 11:30 (GMT+1)
at Brera Academy (Sala Napoleonica)
via Brera, 28 – Milan

Sonia Arienta presents her latest book:

OPERA.
Paesaggi visivi, sonori, abitati.
Ambientazioni, drammaturgia del suono e personagginel Melodramma italiano dell’Ottocento.

Speakers: Roberto Favaro (musicologist), Gastone Mariani (Headmaster of Brema Academy), Luigi Pestalozza (editor of Quaderni di Musica/Realtà).

In collaboration with Brera Academy and LIM

Download the invitation

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A new book for Sonia Arienta

Sonia Arienta, editor of Collateral effects‘ column, recently edited a book for LIM (Libreria Musicale Italiana), whose title is “OPERA. Paesaggi visivi, sonori, abitati nel melodramma italiano dell’Ottocento”.

“Un libro utile, stimolante, nuovo, di lettura coinvolgente.Perché ripercorre l´opera italiana dell´Ottocento attraverso i suoi libretti. Anzi, attraverso, come si legge nel titolo, i paesaggi sonori, visivi, abitati, che in essi stanno, ambientano l´azione. La musica, ovviamente, c´è, ma come punto di riferimento. Il primo piano è dei luoghi, degli spazi, degli ambienti privati e pubblici, come importante trama dei testi, dunque della drammaturgia, su cui la stessa musica si misura…”

After degree in Italian Litterature, (spec. Musicology, with Prof Francesco Degrada) at Università degli Studi in Milan and a degree in Fine Art at Accademia di Brera (Set Design), and after an apprenticeship period in numerous important lyrical theatres (La Scala, Covent Garden, Rossini Opera Festival, Arena di Verona, Piccolo Teatro di Milano, etc), as assistant of prestigious directors (Hugo de Ana, Pier’Alli, Pierluigi Pizzi), Sonia Arienta begins her career as director (Teatro Donizetti, Bergamo, Teatro Regio di Torino, As.Li.Co, Fondazione Arena di Verona, teatro Campoamor, Oviedo, Teatro Verdi, Milano), playwriter and essaysts.
As essayst publishes with ed. Ricordi-LIM Don Giovanni, Le manipolazioni di un testo nell’Europa della Restaurazione (2005).
She writes also for theatre booklet (Teatro Regio of Turin, Donizetti of Bergamo, Carlo Felice of Genoa).
She makes her debut as playwriter in 2004 at Genoa Teatro Stabile, with “Strade/Corridoi”. In 2005 she is finalist at prestigoius award “Premio Riccione per il Teatro” with “Pareti Domestiche”.

For more information, about the book and the purchase, please, click here.

For the cover of the book, please, click here.

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Collateral Effects, by Sonia Arienta

A dying out species?

In Italy, Opera and music in general are expelled from high school teaching, except in experimental institutes or in classes with amateurs-teachers inclined to diffuse among pupils informations about them. Yet, in Nineteenth century Italy national culture the importance of operatic theatre should have attracted a strong attention by the part of Education Secretary, since the State foundation. Instead, music and opera, in particular, were ignored in educational programming, as if “Promessi sposi” by Alessandro Manzoni, La Traviata by Giuseppe Verdi or Guillaume Tell by Gioachino Rossini had different rights or different credits for a young mind education, born and living in italian peninsula…
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