Robert Burt Vidéos
Dernière mise à jour
2024-04-30
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Mikhail Alekseevich Kuzmin Russo Burt 1872 1906 1908 1912 1919 1928 1936 2011
As Canções Alexandrinas de Mikhail Kuzmin introduziram na lírica russa o singular tema da Antiguidade pagã cultuado, no final do século XIX, pelos parnasianos e simbolistas franceses. Mikhail Alekseevich Kuzmin (em russo: Михаи́л Алексе́евич Кузми́н) (18 de outubro de 1872 - 1 de março de 1936) foi um poeta, músico e escritor russo, um dos expoentes da Era da Prata da poesia russa. Obras: Poesia: - Redes (1908) - Lagoas outonais (1912) - As trutas quebram o gelo (1928), Romances: - As asas (1906) e - A fabulosa vida de Joseph Balsamo, conde de Cagliostro 1919). ......... Poema: Revista Nota Do Tradutor 2º, 1º vol., mar. 2011. Tradução: Oleg Almeida Música: Burt's Requiem by Alexander Nakarada (www.serpentsoundstudios.com) Licensed under Creative Commons BY Attribution 4.0 License (http•••)
Wilder Pendleton Briggs Shepard Daly Burt Bennett Coleman Manuel Compinsky Hanson Alec Compinsky 1954
An atomic scientist claims he was abducted by aliens after being injured in a plane crash. Directed by W. Lee Wilder Writing Credits William Raynor - screenplay (as Bill Raynor) Myles Wilder - story Cast Peter Graves - Dr. Doug Paul Martin James Seay - Col. Banks Steve Pendleton - Briggs Frank Gerstle - Dr. Curt Kruger (as Frank Gerstel) John Frederick - Deneb / The Tala (as John Merrick) Barbara Bestar - Ellen Martin Shepard Menken - Maj. Clift (as Shep Menken) Jack Daly - Power House Guard Ron Gans - Sgt. Powers - Sentry (as Ron Kennedy) Ben Welden - Pilot - Tar Baby 2 Burt Wenland - Sgt. Bandero Lester Dorr - Station Attendant Robert Roark - Guard Ruth Bennett - Miss Vincent - Secretary Mark Scott - Narrator (voice) Roy Engel - 1st Police Dispatcher (uncredited) Coleman Francis - Guy in Power Plant Answering Phone (uncredited) Produced by Fred M. Muller - associate producer W. Lee Wilder - producer Music by Manuel Compinsky Cinematography by William H. Clothier Film Editing by William Faris Makeup Department Harry Thomas - makeup artist Production Management Mack V. Wright - production supervisor Sound Department George E.H. Hanson - sound recordist Camera and Electrical Department Jim James - lighting Music Department Alec Compinsky - music supervisor Manuel Compinsky - conductor (IMDB)
Teatro Arcimboldi Teatro Scala Notre Dame Paris Giuseppe Verdi Riccardo Muti Krall Ludovico Einaudi Burt Lang Lang Bourne Carlson Sacchi Prina Silvestri Porro 2002
È il 19 gennaio 2002 quando il sipario del Teatro degli Arcimboldi, nato per accogliere le stagioni del Teatro alla Scala, si apre per la prima volta. In scena La traviata di Giuseppe Verdi, diretta dal Maestro Riccardo Muti. Oggi, festeggiamo 20 indimenticabili anni, durante i quali abbiamo potuto condividere insieme a te e a tutto il nostro pubblico le emozioni regalate dai grandi artisti italiani e internazionali che, scegliendo TAM, ne hanno consolidato il prestigio a livello mondiale. Insieme, abbiamo lavorato al raggiungimento di traguardi e obiettivi, regalando a Milano e all’Italia tantissime Prime Nazionali. Vent’anni di noi, durante i quali gli Arcimboldi hanno visto calcare il proprio palcoscenico da migliaia di artisti straordinari, da Sylvie Guillem a Roberto Bolle; da Tom Waits a Liza Minnelli passando per Bob Dylan, Tom Jones, Diana Krall, Charles Aznavour, B.B. King, Goran Bregovich, Elton John, Sting, Ludovico Einaudi, David Gilmor, Burt Bacharach, Lang Lang, Ornella Vanoni, Paolo Conte, Fiorella Mannoia e tanti altri, senza dimenticare compagnie uniche come Ballet National de Marseille, Béjart Ballet Lausanne, gli spettacoli di Matthew Bourne, Akram Khan, Carolyn Carlson, Bob Wilson e i grandi musical come Notre Dame de Paris, The Beauty and the Beast, Ghost, Priscilla. Celebriamo i primi vent’anni del TAM costruendone il futuro, sperimentando e innovando sempre nel segno dell’eccellenza. Lo facciamo riscoprendo le nostre origini, con il ritorno del Teatro alla Scala e Zelig, aprendo il teatro al quotidiano e valorizzando l’area Bicocca grazie a sinergie con l’Università, la società civile, l’impresa e la cultura. Gli Arcimboldi raggiungono la maturità e si presentano ora quale hub culturale dove Teatro Arte e Musica si rincorrono e si fondono in una programmazione aperta alla città e al mondo tra intrattenimento, formazione e servizio. Fieri e grati per averti sempre con noi, ti dedichiamo questo breve video con gli auguri di Roberto Bolle, Arturo Brachetti, Gianna Nannini, Riccardo Cocciante e altre grandi personalità del mondo della Cultura e ti aspettiamo sabato 22 e domenica 23 gennaio per un weekend di open day gratuiti dove scoprire tutti i segreti del TAM e festeggiare così Vent’anni di noi. Grazie! Marzia Ginocchio, Gianmario Longoni Team TAM Si ringrazia per la collaborazione: Roberto Bolle Arturo Brachetti Gianna Nannini Clemente Zard Riccardo Cocciante Dominique Meyer Direttore Artistico e Sovrintendente Teatro alla Scala di Milano Anna Scavuzzo Vicesindaco del Comune di Milano Tommaso Sacchi Assessore alla Cultura del Comune di Milano Caterina Calvino Prina Direttrice Accademia Ucraina di Balletto Marco Iacomelli Direttore della Scuola Teatro Musicale Roberto Okabe Chef Finger’s Arts Federico Silvestri Amministratore delegato 24 Ore Cultura Giovanna Iannantuoni Rettrice dell’Università degli Studi di Milano Bicocca Paolo Giordano Giornalista e critico de Il Giornale Valeria Crippa Esperta di danza de Il Corriere della Sera Maurizio Porro Esperto di cinema e teatro de Il Corriere della Sera Gianmario Longoni Direttore artistico TAM Marzia Ginocchio Direttore generale TAM www.teatroarcimboldi.it
Tōru Takemitsu Aitken Burt Debussy 1982 1991 1992 1994 2001
Performers: Robert Aitken (flute), Steven Dann (viola), Erica Goodman (harp). Composed in 1992, this composition belongs to what Peter Burt distinguishes as the final period in Takemitsus creative output. His compositions in the 1990s develop and exaggerate the late style the composer reached during the late 1970s and 1980s. Here Takemitsu gives full rein to what he called ’Romanticism’: modernist techniques get relaxed, the music has emphasis on melos and has an unapologetically positive outlook in the ’sea of tonality’ that he developed in the 1980s. This particular piece ends with a clear Db triad. His musical language stabilizes and normalizes to the extent that pieces begin to resemble one another more and more. To add to this, they often share thematic materials or make allusions to other composers. Rather than each piece being a separate musical discourse, one could see how Takemitsu takes a new stroll in his musical „garden“, composed of the same basic repertory of musical paradigms. Particularly this composition is interrelated with „How Slow the Wind“ (1991) and „Archipelago S.“ (1994) with regard to thematic materials. Beyond themes of wind, water also thematically connects these compositions and so allusions to compositions from the „waterscape“ cycle of the 1980s can be heard. In particular the theme of „Rain Coming“ (1982) can be heard at 03:29, allusion to „Rain Spell“ (1982) at 06:10. The Es-E-A motif is scattered throughout and Takemitsu also includes a brief quotation from Debussy’s sonata for flute, viola and harp which served as a model for this composition at 01:31. Regarding the tonal construction of this piece, Burt notes that late Takemitsu uses a semi-serial technique to generate harmonic materials. In „And Then I Knew ’Twas Wind“ the composer favors the ’6-20’ pitch collection, generating two hexachords: F-G#-A-C-C#-E and D#-F#-G-Bb-B-D. The first hexachord seems to serve as the main building block of the composition, since Takemitsu enjoys showing us as many permutations of this pitch collection as possible, while it’s chromatic complement is never heard fully, but is rather used as a resource from which to add varied harmonic color to the pitches of the first hexachord. Takemitsu thus successfully avoids the harmonic ’sameness’ that might otherwise result from the consistent use of the ’6-20’ collection (and which is such a conspicuous feature of certain dodecaphonic works by other composers constructed on the basis of that form); moreover his chosen method allows him such freedom that he is able to quote the Leitmotiv of „How Slow the Wind“ in parallel major thirds, and still remain faithful to his basic constructional premises (09:16). Reference: Burt, Peter 2001. The Music of Toru Takemitsu. Cambridge University Press. Pp: 217-224.
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