My Dog Ate An Ibuprofen

Enrico Rava and Stefano Bollanni at the Teatro San Carlo di Napoli June 23, 2008

Some say that "art" and "freedom" sometimes arise from the restriction, perhaps by the rules, guidelines, the right choice about things you need to delete and add ... maybe not this duet, the virtuoso piano and the magical Bollani Enrico Rava on trumpet, are evidence of concrete. This is evident from the wonderful balance that are able to advent, each in its place, each with its own duty to perform, each with its own musicality, with their imagination.

also show surrounded by a great sense of humor and entertainment, no lack of laughs, including a burlesque of the music and their use of spoken interludes.

perhaps a concert, at the beginning and at least for myself, not in keeping constant on that something that ties the listener-viewer to create, but after the first few minutes of knowledge and the first interaction between the public and musicians is given the way for a show that has done well to understand the technical skills and not just the two that are definitely among the most important musicians of the Italian music scene.

Enrico Rava surely in the guise of lighthearted melancholy melodies weaver, so is the his trumpet. No solos to break the lungs, but great sophistication and accuracy in timing, an excellent technique, as a perfect pitch, perfect to one thousandth of a second insertion in the avalanche of notes that sometimes protruding from the floor of his friend. Melodie first outlined (in the background while you hear a piano-controlled), then transfigured, then broken note: the sounds of brass.

The task, that of Bollani, difficult: keep at bay thousands of notes that followed each other with an intense pace. For most of the concert piano playing percussion for nearly a limited use of the damper pedal, he notes with broken sometimes by their rapid succession, not forced in large intervals but ranged over all the octaves of the piano keyboard.

A music, their overall, to be appreciated for their artistic choices for the immense color with which the two were able to paint their music, using all the heights they had available, the various possibility of timbre of the instruments, playing with the intensity of notes: this means a conscious use of artistic creativity and strong characterization.

softening slightly at the end, relieved by a touch quasi-experimental, have been recalled three times by the audience on stage, offering a couple of interesting pieces of these outputs: one who has seen as a sort of signature to istauratosi link between the public and musicians along the way, the direct participation of those present who have gone to form the third strrmento in a vibrant chorus, and the other offering a beautiful rendition of the song often used jazz standards as "Summer" by Bruno Martino.

What a fantastic couple!

technique, emotion, characterization, entertainment, research ... freedom .... art ...

Skinny Chips Corn Chips

Magoni Petra and Ferruccio Spinetti with their "naked music" at the San Carlo in Naples on 16/06/2008

creepy.
In a context such as royal the Teatro San Carlo, perhaps with a certain friction between the type of concert that was presented and the kind of shows that are normally represented in the most prestigious theater in Naples-it went on to develop a concert that has excited the whole audience , leading to the end of the concert to ask twice for another musical performance group.
But first things first. The group that played (because they define themselves as a group) consists of a duo: Petra and Ferruccio Spinetti Magoni, her voice, his bass (musician Avion Travel). Their project: "Naked Music", carried on for some time.
What is impressive is the amount of musical culture that flows into their music.
There is a contamination, or rather a mixture (more appropriate term because as he says the pianist Stefano Bollani, Petra Magoni husband, knows so much contamination of something harmful) of genres, techniques, historical periods, artistic achievements.

We start from the repertoire presented: an intertwining of their songs, including previously unpublished pieces written by other artists and their beloved covers of many different authors, ranging from artists such as Lucio Battisti, Fabrizio De Andrè The Beatles, having fun with great humor with songs like Tuca Tuca of careers, I do not have the age of Gigliola Cinquetti, proposing even the final part of a madrigal by Monteverdi. All of this is the first step that helps us understand the variety of a show like that.
But one of the most interesting things is how this works out, their unmistakable style that is a mouth of the most common: it goes from jazz to opera, classical music ancient and contemporary classical music, irony and carbonation of artists like Frank Zappa or Captain outstretched to the world of pop music and music copyright, with echoes of oriental music.
The first choice is already in bold type of training, namely voice and bass, which takes a musical tradition inherited by all (As in jazz, for example) who conceives of the instrument as the bass down not only as a maker of carpet and support, but real creator of melodies and harmonies, even exalting him as a protagonist in one tool.
But we get to say it is not the only instrument on stage, just the kind of expressiveness and vocal technique of Petra Magoni: represents the full knowledge of the use of voice as a musical instrument, she is pouring in a technical ability that allows the space between the eighth with many different heights permitting us also for minor variations in tone and semitonal. Going from one style to opera music to a style jazz, and plundering the trials of contemporary music.
iflussi When we talk about contemporary classical music, they mean the dimensions of music at 360 degrees in a gig like that everything is for the creation, different elements are intertwined. There is an overlap of acoustic music and electronic music with various sound effects as well taken care of echoes, delayed or difficult the creation of a continuum effect between electronic and acoustic sounds. Ricercatoe conscious use of lights carefully positioned with the ability to direct them in the best way to create different effects as well as the projection of shadows of two artists, magnified in the background of the stage. And then of course the way it sounded and sang the traditional jazz improvisation take or already testing the customization of songs already known, as well as the use of voice as a musical instrument imitating other sounds sometimes, as in the grip of virtuosity. Another important note is the vision cageiana and contemporary music that rises to the level of various elements such as the breath of Magoni clocked well, his pace to beat his foot on stage, non-canonical and unusual usage of the musical instrument by Spinetti, playing the bass at times, almost like a guitar, sometimes like a cello, rubbing the strings, only brushing, making them even tweak its companion show, using their full extent, creating music, even playing on the instrument case, because every single part of it is composed can create sounds that make music.

Already normally live music is always something different from recorded music, I think this is the case in which the gap is even greater: what matters here is the performance art that includes the physicality of These two characters, one can say-what-wonderful to have seen Petra Magoni relamente and literally possessed by the music.
Just as there is a strong sense of irony and sympathy to this wonderful couple, who can lighten the concert giving laughter and serenity to the public.
Not to be missed. a wonderful concert. Because I think words do not come to understand what they are capable to offer here a taste of their music with the hope of provoking curiosity in order to push those who are enjoying all this god avvicinarsia this fantastic musical world.

The camel and dromedary

I will survive

Look at the moon

Bocca di rosa

Homecoming Sayings For T Shirts

Il Divo: Paolo Sorrentino's latest film

was awaited with great fervor the 'Paolo Sorrentino's latest work on the life of Andreotti as a symbol of a historical era of politics (and not only) Italian. Released in theaters May 28, 2008 and presented at Cannes where it won the Jury Prize; great achievement of Italian cinema with the Grand Jury Prize won by Gomorrah.

I think it is appropriate to begin by emphasizing some slight doubts, and then dedicate ourselves to what makes this a brilliant film.

Doubts are in the narrative fabric, historically speaking, there are situations in the film are represented facts and characterizations that are not fully evidenced by the fact, shall mention some events that we do not know if you really are occurred, however, even though throughout we have tried to maintain a stable two lines of accusation and defense, or rather conviction and acquittal, however, the weight of the sentence was perhaps predominant.

addition to this: a great film. Sorrentino has literally satisfied to implement all of its technical potential, with a great conscience has directed the film. His presence is felt in the scenes, and does not bother, in fact takes us on an exquisite, charming, attractive, exciting, fun (artistically) in the flow of frames. Making grotesque political history of 'Italy in particular the life of Giulio Andreotti played beautifully by Toni Servillo. Choices in the extremely precise angles, the angles in the shots, the camera movement, photography, editing: in short, in every field of film we tried to give our best and give a touch of real art is ... shown, the director, heir to the bearer of the whole history of cinema, this film has everything from the fitting of Kuleshov Russian lessons, to Hitchcock, the grotesque by Elio Petri, the cinema of Tarantino, the splendor of the golden age of Italian cinema and much more ...

Not to mention the performances of the actors: Toni Servillo is sublime, it is confirmed (but already knew a long time, always with Sorrentino and even before) one of the most talented actors of the Italian theater and film scene. Another note, in addition to all the cast of course, I have to, perhaps for personal affection, Charles Buccirosso: overflowing, turns his comic side and sneer at the service of Caricature, a characterization made in the art in the shoes of Cirino Pomicino, has proved much more than just a comedian, demonstrating that it can affrotare other types of roles.

Another amazing thing was the makeup of the film: an extraordinary ability to camouflage the actors assomigliarre for them as possible to real people, it is the case of Buccirosso and Servillo, on the other this last showed us how has "rigged" his own personality, becoming the secret brother of Andreotti: a complete transformation, voice and diction, the port, the ritual gestures, thereby demonstrating its entire theatrical provenance very classy.

with Gomorra Il divo are a strong sign of recovery of Italian cinema, for which all our staff are fascinated and believes strongly in a possible return to the splendor, these two films are proof!