A Terra como Acontecimento II

O projecto artístico e geofilosófico “A Terra como Acontecimento” na sua vertente cinematográfica opera uma problematização da relação à Terra e à natureza. Trata-se de um projeto transdisciplinar que, pela sua essência, leva à aparição de novas imagens da Terra, questionando a noção de território, historicamente e etologicamente marcada. Sente-se crescentemente que a lógica territorial que captura a terra está a chegar a um momento crítico, de que a crise climática e a entrada no Antropoceno são um indício importante.  No filme “A Terra como Acontecimento II” pelo seu uso das matérias, pela transdução das artes que desenvolve, opera uma desterritorialização acentuando a deslocalização das matérias e interrogando-as na sua originalidade quase pré-humana. Apenas o cinema tem a capacidade de desterritorializar a lógica das fronteiras históricas, sem reterritorialização ilusória. A aparição da terra na sua elementaridade tal como o cinema lhe dá lugar sem a dominar, cruzada com frases também elas nomádicas, que pontuam o vídeo, abre possibilidades políticas para o pensar da relação com a Terra e a comunidade dos que nela habitam. Está em causa uma expressão criativa que pretende intervir e dar visibilidade a outras possibilidades do habitar da Terra. [...]

Guimerà in Europe and America

The Spanish translations of some of Guimerà’s works and their determined dissemination by María Guerrero’s company in Spain and South America served as the point of departure for translations and performances in other languages and for the opera and film adaptations made in Europe and America over the course of the past century. In the first decade of the 21st century, Terra baixa (Lowlands) still remains the top referent in the dissemination and the international presence of Àngel Guimerà’s theatre

The Spirit of Verdi, Arie da camera, March 24, 2013

This is the concert program of the The Spirit of Verdi, Arie da camera performance on Sunday, March 24, 2013 at 8:00 p.m., at the Boston University Concert Hall, 855 Commonwealth Avenue, Boston, Massachusetts. Works performed were Notturno: "Guarda che bianca luna", Lo spazzaamino, Brindisi (based on the Autograph), Il mistero, Stornello, L'esule, La preghiera del poeta, Perduta ho la pace, In solitaria stanza, Brindisi (based on the First Edition), Nell'orror di notte oscura, La zingara, Sgombra, o gentil, Deh pietoso, oh Addolorata, More, Elisa, lo stanco poeta, La seduzione, Il brigidino, Pietà, Signor, Il poveretto, Il tramonto, Ad una stella, Non t'accostare all'urna, and É ;a vita un mar d'affanni by Giuseppe Verdi. Digitization for Boston University Concert Programs was supported by the Boston University Humanities Library Endowed Fund

Ellalou Dimmock Honors Voice Recital, November 16, 2010

This is the concert program of the Ellalou Dimmock Honors Voice Recital performance on Tuesday, November 16, 2010 at 8:00 p.m., at the Boston University Concert Hall, 855 Commonwealth Avenue, Boston, Massachusetts. Works performed were L'Attente, Plainte, Guitares et Mandolines, Aimons-nous, and Chant de ceux qui s'en vont sur mer by Camille Saint-Saëns; Stornello, Ad una stella, Lo spazzacamino, and Brindisi by Giuseppi Verdi; Five Songs, op. 72 by Johannes Brahms; and Selections from Scottish, Irish, and Welsh Songs by Ludwig van Beethoven. Digitization for Boston University Concert Programs was supported by the Boston University Center for the Humanities Library Endowed Fund

Boston University Symphony Orchestra and Symphonic Chorus, April 7, 2008

This is the concert program of the Boston University Symphony Orchestra and Symphonic Chorus performance on Monday, April 7, 2008 at 8:00 p.m., at Symphony Hall, 301 Massachusetts Avenue. The work performed was Requiem Mass by Giuseppe Verdi. Digitization for Boston University Concert Programs was supported by the Boston University Center for the Humanities Library Endowed Fund

Boston University Symphonic Chorus and Symphony Orchestra, February 16, 2012

This is the concert program of the Boston University Symphonic Chorus and Symphony Orchestra performance on Thursday, February 16, 2012 at 8:00 p.m., at Veterans Memorial Auditorium, 1 Avenue for the Arts, Providence, Rhode Island. The work performed was Messa da requiem by Giuseppe Verdi. Digitization for Boston University Concert Programs was supported by the Boston University Humanities Library Endowed Fund

Boston University Baroque Orchestra, December 6, 2004

This is the concert program of the Boston University Baroque Orchestra performance on Monday, December 6, 2004 at 8:00 p.m., at Marsh Chapel, 735 Commonwealth Avenue. Works performed were Concerto in C minor for two harpsichords and orchestra, BWV1060 by Johann Sebastian Bach, I. Weichet nur, betrübte Schatten and IX. Gavotte: Sehet in Zufriedenheit from the "Wedding Cantata," BWV 202 by J. S. Bach, Concerto in A minor for violin and orchestra, Op. 7, No. 5 by Jean-Marie LeClair, and "Gloria" by George Frideric Handel. Digitization for Boston University Concert Programs was supported by the Boston University Center for the Humanities Library Endowed Fund

Boston University Symphonic Chorus and Chamber Orchestra, November 22, 2010

This is the concert program of the Boston University Symphonic Chorus and Chamber Orchestra performance on Monday, November 22, 2010 at 8:00 p.m., at Old South Church, 645 Boylston Street, Boston, Massachusetts. Works performed were Overture, "The Hebrides" by Felix Mendelssohn, Requiem für Mignon and Nachlied, op. 108 by Robert Schumann, and Missa in tempore belli "Paukenmesse," Hob. 22:9 by Franz Joseph Haydn. Digitization for Boston University Concert Programs was supported by the Boston University Center for the Humanities Library Endowed Fund

Lord Nelson Mass, April 29, 1989

This is the concert program of the Boston University Chorus and Period Orchestra performance on Saturday, April 29, 1989 at 8:00 p.m., at the Tsai Performance Center, 685 Commonwealth Avenue. Works performed were the following by Franz Joseph Haydn: Sinfonia No. 44 (Trauersymphonie) and Missa in Angustiis (Nelsonmesse). Digitization for Boston University Concert Programs was supported by the Boston University Humanities Library Endowed Fund

"Musica adattata allintelligenza ed alle esigenze del pubblico" : Giuseppe Verdi, Errico Petrella, and their Audience

As we shall see, the two composers can be understood as opposites in many respects. While some superficial details of Verdis style were imitated by contemporary operatic composers, Verdi should be understood as exceptional, as pursuing a unique path amidst the Italian opera of his time. Rather than imitating either the concision of Verdis operas or their even more striking dramatic intensity, Petrella and most other Italian composers of the period instead downplayed these elements and sought instead to develop melodic appeal above all