Uterine Fibroid More Condition_symptoms

Carta Blanca Osvaldo Golijov

25-26-27/02/2011 Ariel Hernandez Roque, National Choir

National Orchestra and Choir of Spain
Miguel Harth-Bedoya, director - Joan Cabero, CNE director
Alisa Weilerstein, cello
Biella Da Costa, singer
Maria Hinojosa, soprano
Kayan Kalhor, Persian violin
Tünde Balbastre, cimbalon Michael Ward-Bergeman
, hyper-accordion
Jamey Haddad, percussion
Cyro Baptista, percussion
Adrien Brogna, guitar
Jeremy Flower, computer and sound design

Few works have raised more dust than The Passion According to St. Mark, which opened in Stuttgart Beethovenhalle September 5, 2000. Result of a project, Passion 2000, designed by the Internationale Bachakademie and its artistic director, Helmut Rilling, The Passion meant the third foray into choral music by Osvaldo Golijov and especially given the obvious reference to Bach's celebrated "the Bachakademie Thus the 250 anniversary of the death of the creator of The Art of Fugue, "a major challenge that he shared with three other composers, Tan Dun, Sofia Gubaidulina and Wolfgang Rihm.

Public-ovation at the end of the work was nearly half an hour, and critical surrendered to this singular interpretation of the Gospel signed by a Jewish composer who had to buy a New Testament before starting to work on the score. According to the Los Angeles Times critic Mark Swed, Golijov's Passion "is a wonderful new voice to express the joy and sorrows of a bustling multicultural world, and crosses all ethnic walls as if you did not exist." In The New Yorker, Alex Ross, author of The Rest is Noise (Noise eternal) - went even further: "Madonna im Saal War?" [Was it Madonna who was in the room?], Asked the Stuttgarter Nachrichten. "Oder wenigstens Michael Jackson?" [Or at least Michael Jackson?]. No. Who was in the room was a 39 year old Argentine composer of Jewish origins in Eastern Europe, until The Passion, was known for a piece for string quartet and klezmer clarinet [The Dreams and Prayers of Isaac the Blind] "

Information extracted from CNE program.

Thank You Wedding Program Wording

Tallinn, city light that can not miss Martha Argerich

The capital of Estonia, Tallinn, is another European city very well preserved medieval past but living with the present. XIII and XXI centuries interrelate harmoniously and style. It is one of the most beautiful in Europe, full of light and life. The buildings, some more beautiful than others, medieval houses, with basements that served to protect during the war, have become now in nice restaurants, cafes and shops artists.

is the most populous (about 400,000 pop.), And this year is the European Capital of Culture, along with its neighbor Turku (Finland). The historic center is a UNESCO world heritage. Both designations are fully justified. Everything around you is to delight the senses, art and culture at your fingertips: Open spaces, spacious squares, the facades of buildings and doors of homes in endless colors and designs, traditional coffee, the 33 museums the 40 art galleries and 15 churches of different faiths (Catholic, Lutheran, Russian Orthodox, Jewish).

Estonia has always been a pearl desired by neighboring countries. Its dominance has been renamed and culture, which began with the Danes (XIII century), and was followed by the Swedes, Germans and finally the Russians. In the second rule Russian was released not long ago with the fall of the Berlin Wall. History has proved stubbornly that produce trauma dominacaciones not easy to overcome, and Estonia is no exception, as has the young Finnish writer Sofi Oksanen, Finnish father and mother of Estonia, author of award-winning book Purge, a recent Babelia reporting (The Country). Her maternal grandparents were deported to their country and that became, among other things, their relationship. "The phones were intervene nests and could not talk about anything openly you, without charge q ue conference was a process directly d elica do. The letters were censored and could not write certain things. My children's letters, of course, not an er. Pe ro my mother and relatives had a code: they made a mark s that turned the phrase into the opposite ".

Tallinn has a strategic location between Scandinavia and Russia, with long fluid exchange. In 1870 and operated the railroad route Tallinn-St Petersburg. It is located 80 km south of Helsinki, the capital of Finland, an hour by boat. The Finns consider it part of your country, go shopping there because it is cheaper, especially alcoholic beverages. The huge ships are full of Finns, more in a weekend.

The cultural legacy of foreign domination remains. From the upper town or Toompea have a magnificent view of this heritage, as well as the picturesque red roofs. In Toompea is the castle, once the religious headquarters Parliament today, built by the Danes. Alexander Nevski Cathedral is a Russian-built (1894-1900) in Renaissance style. In the neighborhood of Kadriorg is the palace that bears the same name, built in 1718 by order of Tsar Peter the Great.

in Tallinn is easy to feel at ease, the people are friendly and cheerful. The tourists are welcome to traditional clothing, and almonds fried with ginger, sugar and pepper. If you have time you can tour the city on foot. It's sort of outdoor museum. Pasaje de Santa Catalina (in Venezuela and Müürivahe), for example, do not miss. In this engaging passage are many craft workshops.

After touring the city, a good lunch option is-national-local food in the restaurant Vanaema J'uures (street Rataskaevu 10-12), a few blocks from Saint Catherine's Passage. It is a basement of a house in the Middle Ages had several uses. The food is delicious and the dishes served generously, not to mention the attention of the friendly staff. You can start with a pan of potatoes (under ) , baked oven with goat cheese, tomatoes, cumin, dill, parsley, milk and eggs. Second: baked salmon fillet and cream cheese and dill pickles. And ending with dessert recipe grandmother's rhubarb Kake, similar to strudel, and accompanied by fresh strawberries in the contours of the plate.

Patau Syndrome More Condition_symptoms

Works of György Ligeti, Richard and Johann Strauss

02/22/2011

Ariel Hernandez Roque, National Choir

Concerto No. 3 Date: 22/02 at 19:30
National Music Auditorium. Chamber Music Hall Musicians


OCNE Juanjo Grande, direction and design

Project Programme: György Ligeti

• (1923-2006): György Ligeti Atmospheres
• : Requiem
• Richard Strauss (1864-1949), Thus Spoke Zarathustra
• Johann Strauss (1825-1899): The beautiful Danube blue, opus 314

Cruising Spots In Sacramento

historic concert

pianist Martha Argentina Argerich (1941), one of the most internationally famous, was introduced a few days (09.02) in the auditorium of KKL Lucerne, near the Russian cellist Mischa Maisky (1948) and Lucerne Symphony Orchestra (Luzerner Sinfonieorchester ), directed by Neeme Järvi Estonian (1937), in concert, in the presence of Russian and Swiss authorities, with which began the festival of Russian culture and the 65 th Anniversary Celebrations of diplomatic relations between both nations.

The concert began with the Luzerner Sinfonieorchester (LSO) and a theme of Czech composer Antonín Dvořák (1841-1904), Scherzo Capriccioso that Järvi led the waltz dancing to emerging at times. The duo Argerich, Maisky ( photo Stephanie Argerich) formed thirty years ago, came to play Offering Romantic, Russian Rodion Shchedrin (1932), composed especially for both several months ago. Shchedrin is a composer with a long and fruitful career. His works have been performed not only at home but also U.S. and Europe. Already in the 60 Leonard Bernstein with the New York Philharmonic, conducted some of his works. Shchedrin was surrounded of great names in the music of his country, including Dmitri Shostakovich (1906-1975), who now regard his successor.

In the Double Concerto for Piano, Cello and Orchestra Argerich and Maisky are the undoubted stars. A dense work in the prevailing chaos, the delicacy of the solos (piano and cello) and blows the cymbals or cymbals ideal for the audience out of reverie. When finished, Shchedrin, visibly moved, took the stage to flood flowers Argerich and Maisky. Argerich and Maisky

returned after the break with Sonata for Cello and Piano , the French Belgian composer Cesar Franck (1822-1890). Otherwise we floated out and touch the top, then leave us with the feeling of wanting to continue listening to them, what did not happen because the concert ended with the LSO and Symphony Nr 9 Shostakovich.

The program presented in Lucerne was repeated last week in other European clubs, in the Auditorium Giovanni Agnelli in Turin (Italy), the Festspielhaus Baden-Baden (Germany), and the Théâtre des Champs-Élysées in Paris.

The gray-haired lady
Martha Argerich was born in Argentina, but it belongs to that group of artists who come from a place, but of all. Its territory is music. Argerich live more than half a century of his 70 - abroad, mainly in Europe. He began playing the piano at about the same time to start walking, and that the four years he gave his first concert. General Juan Domingo Perón had to do with his training as a pianist and made it possible to study with teachers Friedrich Gulda in Vienna (Austria) and Nikita Magaloff Madeleine Lipatti and Switzerland. (file photo).

"... I was a little over 12 years, had played in Columbus and Perón had given me an appointment the presidential residence. Mom asked if she could accompany me and he said yes, of course. I was not very Peronist ... ; I remember was always sticking little notes everywhere saying 'Balbin-Frondizi'. He greeted us and asked, 'And where you want to go, Natita?'. And I wanted to go to Vienna to study with Friedrich Gulda. He liked that I would not go to America. The funny thing was that my mom, to ingratiate himself, told him I would love to play a concert in the UES [Union of Secondary Students]. And it seems that I must have put quite revealing a face that I did not like the idea Peron because he began to go along with my mother, saying "Of course ma'am, we will organize" while winking at me, and under the table, I did it with a finger not. He was carrying a mother and reassured me. He realized that I did not. Fantastic, right? And he gave my dad a job. He named the economic aggregate in Vienna. And mom said she thought that she was very intelligent, enterprising and capable and he got another job at the embassy ". In Classical Journal No. 133, Buenos Aires, 1999.

Alex Ross, classical music critic The New Yorker and author of the indispensable book The rest is noise (Eternal Noise) states: "Argerich has qualities that rarely come together in one person: it is a complicated technical agility pianist, is a charismatic woman with enigmatic reputation, is a disaffected translator whose mother tongue is music. The latter may be the quality that distinguishes it. Many pianists play big double octaves, many pianists are photographed well. But few have the unerring naturalness of phrasing that allows them to incorporate the music rather than interpret ".

Argerich played with a long list of renowned musicians and conductors conductors of all parties. It is recognized as one of the best interpreters of Chopin, Liszt, Bach, Schumann, Ravel and Prokofiev, though his repertoire is no shortage issues by Latin American composers, mostly of his compatriots Alberto Ginastera and Astor Piazzolla. He has won the most coveted international awards, is promoting young musicians, and inspiration for documentaries, such as that conducted by filmmaker Georges Gachot Swiss franc, Martha Argerich: Conversation night.

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Cecilia Bartoli and three Mexicans in Le Comte Ory






The Italian mezzo-soprano Cecilia Bartoli clearly mark admission to the stage and transforms it. A few days ago appeared in the Opernhaus Zürich (Zurich Opera) as the Countess Adèle in the opera Le Comte Ory (Count Ory), written by fellow Gioachino Rossini (1792-1868). Bartoli, one of the best mezzo-sopranos of all time, almost manages to mesmerize with her movements, her acting skills and voice.

Le Comte Ory, comic opera in two acts, located in France in the thirteenth century met for six performances (January-February) to an outstanding cast of international artists, including three Mexican: tenor Javier Camarena (Count Ory), soprano Rebecca Olvera (Isoli), and baritone Armando Piña (Coryphée). Second photo above, Camarena and Olvera in their respective roles.






The plot of this opera is hilarious. The Count Ory poses as a wise hermit who offers advice to women in a French village that they were left alone because their husbands are at war in the Crusades. Isoli, the page of Ory, is in love with the Countess Adèle, who had vowed chastity while her brother is still at war. The Count Ory is also in love with the Countess, who asks advice to cure your pain and it recommends fall in love, she makes Isoli. Ory, religious dress, and trying to win the love of Adèle, calling hospice reaches the castle, along with more than a dozen men. At the beginning and the end is exposed.

"It's a luxury to work alongside Cecilia Bartoli. It is the first time that we do together in leading roles. I met her in a presentation by Juan Diego Flórez, then I listened and here I am, "said Camarena , while signing autographs and allowed to take photos with his fans.

Bartoli not save praise when speaking of its two Mexican partners: "Both act beautifully. Javier applicant plays a role in acting and singing, and is perfect as Isoli Olvera ". Bartoli passes its peak, with an agenda that does not leave free time. Not only is presented in the most important operas, but also burn discs, carefully chosen repertoire, giving concerts. In person is charming, patient and very willing to with people approaching.

Le Comte Ory is a work flawlessly mounted. The scenery play creatively with the limits of space. A platform up and down to the basement making changes to characters and heavy objects such as cars. Music is provided by the Orchestra La Scintilla of the Zurich Opera, directed by Chinese musician Muhai Tang (next solo) .

When it's my turn to speak with Cecilia Bartoli, after answering a few questions, I said that because American should feel proud of the actions of Camarena, Olvera and Pineapple. "We welcome American singers are very good, but we need more. They keep coming, please ...", stated with a generous smile.
Le Comte Ory
is one of the 40 operas that Rossini wrote. It is not known or valued most, however, its lightness, humor and playfulness makes it a timeless favorite of the public, which sold out in advance.

Camarena, said that playing the Count Ory has been a great challenge because it required sharp, scores and subtleties at the same time. "In terms of performance is not complex, because what prevails is the craftiness and lust, which are, incidentally, on the border to do a character of Count Ory hateful or vulgar, but laughter. Ory is a loser forever ... and I love all facets of range and converge " he said.

Olvera is a constant presence at the Zurich Opera House. A few months ago, for example, appeared in L'Elisir d'amore , along the Peruvian tenor Juan Diego Flórez. She Bartoli Camarena and living in Zurich for some years, the latter because he is married to a Swiss. Photo left, Camarena and Olvera after the show.

The first eight photos by Jef Rabillon, taken to the Zurich Opera House.