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senatushq · 2 years
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Welcome to Rome!
Sanem Kartel ( The Future ) played by C Nicolai “Indie” Dragos ( The Leech ) played by Sam Evelina Cirillo ( The Archeologist ) played by Ori  Rory Kinder ( The King ) played by Ghost Rowan Ivar ( The Child ) played by M Otto Green ( The Hierophant ) played by Shane Andreas Gray ( The Destined ) played by Dany Haeil Ahn ( The Mercenary ) played by Kyan
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cinquecolonnemagazine · 7 months
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I paperoni italiani del 2023
I ricchi d'Italia diventano sempre più ricchi. Questo è il dato più importante che viene fuori da Milano Finanza che parla del 2023 per i paperoni italiani. Nel 2023 il valore delle azioni finanziarie dei Paperoni italiani nel mondo è salito a oltre 187 miliardi dai 174 miliardi dell’anno scorso. Diamo, quindi, uno sguardo ala classifica da loro stilata sui più ricchi in Italia. Classifica ricchi di Borsa – La top 30 Questa la classifica con le prime 30 posizioni: - Eredi Leonardo Del Vecchio (Generali, Avio, Covivio, Essilorluxottica, Mediobanca, Unicredit) – 32,548 miliardi - Prada Miuccia e Bertelli Patrizio (Prada) – 13,068 miliardi - Famiglia Rocca (Tenaris) – 10,444 miliardi - Famiglia Agnelli-Elkann-Nasi (Exor) – 10,026 miliardi - Famiglia Garavoglia (Campari) – 7,643 miliardi - Stevanato Franco e famiglia (Stevanato Group) – 6,099 miliardi - Ferrari Piero (Ferrari, Ferretti) – 5,853 miliardi - Iervolino Andrea (Iervolino & Lady Bacardi, Tatatu) – 5,645 miliardi - Ruffini Remo (Moncler) – 4,060 miliardi - Caltagirone Francesco Gaetano e famiglia (Acea, Anima Holding, Generali, Caltagirone, Caltagirone Editore, Cementir, Mediobanca, Vianini) – 4,035 miliardi - Pessina Stefano (Walgreens Boots Alliance) – 4,034 miliardi - Famiglia Peugeot (Stellantis) – 3,947 miliardi - Famiglia Crippa (Technoprobe) – 3,714 miliardi - Famiglia Benetton (Aeroporto Marconi Bologna, Generali, Dufry e le delistate Atlantia e Autogrill) – 2,986 miliardi - Holland Susan Carol (Amplifon) – 2,903 miliardi - Famiglia Buzzi (Buzzi Unicem) – 2,853 miliardi - Eredi Silvio Berlusconi (Banca Mediolanum, MFE-Mediaset, Mondadori) – 2,844 miliardi - Famiglia Boroli-Drago (IGT, Next Re Siiq, DeA Capital) – 2,645 miliardi - Famiglia Doris-Tombolato (Banca Mediolanum, Mediobanca) – 2,624 miliardi - Cucinelli Brunello e famiglia (Brunello Cucinelli) – 2,530 miliardi - Denegri Gustavo e famiglia (DiaSorin) – 2,461 miliardi - Famiglia Garrone-Mondini (Erg, Industrie De Nora) – 2,369 miliardi - Bombassei Alberto (Brembo, Pirelli) – 2,324 miliardi - Rizzante Mario (Reply) – 2,237 miliardi - Armani Giorgio (Essilorluxottica, The Italian Sea G.) – 2,002 miliardi - Famiglia De’ Longhi (De’ Longhi) – 1,912 miliardi - Sambur David Benjamin (Lottomatica Group) – 1,688 miliardi - Gostner Josef, Ernst e Thomas (Alerion Clean Power) – 1,391 miliardi - Famiglia Montipò (Interpump, Sabaf) – 1,383 miliardi - Famiglia Annoni-Fumagalli (Sol) – 1,363 miliardi Paperoni d'Italia: uno sguardo ai primi posti Anche per questo nuovo anno sono gli eredi di Leonardo Del Vecchio a confermarsi in vetta alla classifica. Il valore delle loro azioni bancarie è salito del 14,7%, a oltre 32,5 miliardi di euro. Il secondo posto è ancora di proprietà della "coppia" Miuccia Prada e Patrizio Bertelli soprattuto grazie alla partecipazione in Prada, che vale 13 miliardi (un balzo in più del 14%). La proprietà del 60% delle azioni di Tenaris permette invece alla famiglia Rocca di mantenere il terzo posto e chiudere il podio con quasi 10,5 miliardi di euro di patrimonio borsistico (anche per loro viene registrato un aumento, +11,5%). La resto della top 5 Quarti e a ridosso si trovano invece gli Agnelli-Elkann-Nasi. Al 3 agosto 2023 il valore delle quote degli eredi dell’Avvocato era arrivato a 10,02 miliardi (+19,6%). La dinastia sabauda supera in classifica la famiglia Garavoglia, il cui patrimonio borsistico si aggira sui 7,64 miliardi. I principali azionisti di Campari sono gli unici a registrare una performance negativa nelle prime dieci posizioni (-5,5%). Investimenti all'estero Questa ricca classifica del 2023 mostra anche un dato importante: la voglia dei paperoni italiani di investire all'estero. L'esempio più grande è quello di Stefano Pessina. L'amministratore delegato di Walgreens Boots Alliance, una delle più grandi catene di farmacie degli Stati Uniti, passa dall'ottava all'undicesima posizione segnando uno dei peggiori cali tra quelli in classifica. Domanda sorge spontanea: chi ha preso il posto di Pessina nella top 10? Il suo nome è Andrea Iervolino che ha registrato balzo a dir poco sorprendente, dal 319esimo all’ottavo posto. Il merito è di Tatatu, social network che appartiene per il 96,5% all’imprenditore italo-canadese ed è quotato a Parigi dall’ottobre 2022. La capitalizzazione della società si aggira sui 5,8 miliardi. Foto di Kevin Schneider da Pixabay Read the full article
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jacopocioni · 8 months
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S. Giorgio e il drago dell'incuria.
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Sicuramente vi sarà capitato di vedere più volte l’immagine di S. Giorgio, coperto da una elegante armatura ed armato di spadone, mentre uccide il terribile drago e libera la principessa Silene secondo il racconto fatto di Jacopo da Varagine nella sua “Legenda Aurea”, testo di riferimento per gran parte della iconografia cristiana. Famosa ad esempio a Firenze la rappresentazione fattane da Donatello nella predella del Tabernacolo dell’arte degli Spadai e Corazzai in Orsanmichele, che segna l’inizio dell’utilizzo della prospettiva e dello “stiacciato” nella scultura rinascimentale. A S. Giorgio è intitolata una delle porte dell’ultima cerchia delle mura di Firenze, quella eretta tra il 1284 ed il 1333 e progettata, secondo la tradizione, da Arnolfo di Cambio, l’architetto che progetterà i più importanti edifici della Firenze medievale: Palazzo Vecchio, S. Maria del Fiore, S. Croce per dirne alcuni. Un imponente giro di mura in pietra forte che ha protetto per secoli Firenze e la sua fiorente economia dai pericoli esterni. Questa porta, che si trova nella parte più alta della città tra via san Leonardo e la Costa San Giorgio, di fianco al Forte Belvedere (che ancora non esisteva all’epoca in cui fu eretta), è un pò diversa dalle altre: per la sua piccola dimensione venne talvolta definita postierla.
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La Porta a S. Giorgio nella famosa pianta del Buonsignori (1587) Originariamente era coronata, come le altre, da merli e camminamento di ronda che furono rimossi durante l’abbassamento eseguito su indicazione di Michelangelo in occasione dell’assedio di Firenze (1529-30) per offrire un bersaglio meno facile alle artiglierie imperiali La struttura è in conci di pietra forte disposti “a filaretto”, la chiave di volta è decorata con un giglio e nella lunetta dell’arco “senese” c’è un bel bassorilievo del XIV° secolo con San Giorgio che uccide il drago, comunemente attribuito ad Andrea Pisano (trattasi di una copia, l’originale è in palazzo Vecchio) S. Giorgio, soldato e martire Cristiano vissuto in Anatolia nel IV secolo, e la sua lotta contro il drago divennero nel medioevo simbolo della lotta del bene contro il male e incarnazione dei più alti ideali cavallereschi. Pare però che il valoroso Giorgio nulla possa contro un nemico più temibile del dragone sputafuoco: l’incuria! Ieri durante una passeggiata per la via S. Leonardo, mi sono reso conto che la porta versa in non buone condizioni: c'è una grossa lesione all’altezza del’imposta destra dell'arco "senese", che rischia di cadere sulla testa a qualcuno dei tanti turisti e passanti che attraversano la porta. Mi domando se chi di dovere se n'è reso conto... Speriamo solo che non debba succedere il guaio come al solito (vedi recente crollo del lungarno)! Ho scattato una foto per documentare lo stato attuale, confrontandola con una foto più vecchia si nota chiaramente il danno.
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La Porta a S. Giorgio IERI
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La Porta a S. Giorgio OGGI                
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Enrico Bartocci Read the full article
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lamilanomagazine · 9 months
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Bologna Estate 2023, gli appuntamenti dal 14 al 20 luglio
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Bologna Estate 2023, gli appuntamenti dal 14 al 20 luglio Continuano i fitti appuntamenti del cartellone di Bologna Estate 2023. Ecco, giorno per giorno, le iniziative nella settimana dal 14 al 20 luglio che si svolgono a Bologna e dintorni. Venerdì 14 In piazza dei Colori prende il via "Bolle d'arte". Fino al 26 luglio un cartellone ricco di eventi per tutte le età; attività gratuite per bambini, famiglie, ragazzi e adulti, due festival multidisciplinari di teatro e arte cinematografica e una piazza tutta da vivere e colorare. In piazza San Francesco va in scena "Margherita Hack, stella tra le stelle", un reading musicale dedicato alla scienziata in occasione dei 10 anni dalla sua morte. La narrazione è affidata a un amico e collaboratore di Hack, il giornalista e divulgatore scientifico Federico Taddia, anche ideatore della performance. Nello spazio antistante il Museo per la Memoria di Ustica, "Omaggio a Christian Boltanski": la rassegna Attorno al Museo propone una serata di documentari dedicati a Boltanski e alla vicenda di Ustica con l’introduzione di Annalisa Rimmaudo curatrice del Dipartimento Collezione contemporanea, Centre Pompidou, Parigi. Sabato 15 Prosegue Bonsai Garden con il concerto di Mara Sattei e, nel chiostro dell'ex convento di Santa Cristina, ultimo appuntamento per "Tutto esaurito, il primo festival dello stress", con un’intervista/confessione pubblica a Sara Drago, protagonista della serie Sky “Call my agent”. Alla Cava delle Arti in via Francesco Cavazzoni, "I miei anni '70", spettacolo a cura de Il Teatro del Cerchio, all'interno di CommediEstate 2023. Domenica 16 In piazza San Francesco, "Elisa è sempre stata lì", nuovo appuntamento di BoNoir dedicato all'omicidio Claps Lunedì 17 Festival dei Suoni, all'interno di Montagnola Republic, ospita Angela Baraldi, accompagnata dal chitarrista Federico Fantuz, in un set acustico intimo e poetico. All'Arena Puccini proiezione di "The Whale", di Darren Aronofsky (2023). Martedì 18 A Villa Salina Malpighi a Castel Maggiore primo appuntamento con "Gli alberi celesti", lo spettacolo che prendendo ispirazione dal libro di Paola Mastrocola, "L’amore prima di noi", racconta di come gli dèi frivoli e prepotenti si mescolano alle vite degli umani, se ne innamorano, li corteggiano, li ingannano. Al Parco dei Gessi Bolognesi e Calanchi dell’Abbadessa, nell'ambito di Danzare il Tramonto 2023 - Festival di Danza in Natura, si terrà lo spettacolo "Ototeman" di COB Compagnia Opus Ballet. In Località Cà de’ Fabbri a Minerbio, "Love is in the air", spettacolo di Andrea Farnetani nell’ambito di ARTinCIRCO festival 2023, Festival di Circo Contemporaneo e Arti Performative per tutti. A Cubo-Giardini di Porta Europa, prende il via Cubo live, la rassegna di spettacoli dal vivo promossa da CUBO, il museo d’impresa del Gruppo Unipol, con il concerto di James Senese. Mercoledì 19 A DiMondi Festival, "La poetica di Lucio Dalla, secondo dei tre incontri a cura di Paola Cevenini per Fonoprint con live degli Zois, la band bolognese che ha pubblicato di recente Etilene per tutti, che contiene canzoni con i testi inediti che il poeta Roberto Roversi aveva scritto per Lucio Dalla e che non furono mai utilizzati. Nello spazio antistante il Museo per la Memoria di Ustica, "Il linguaggio degli oggetti, spetta di Ateliersi che invita il pubblico a un’esperienza immaginativa composta a partire dalla scrittura di Daniele Del Giudice, nell’ambito di Attorno al Museo, rassegna di spettacoli, concerti, performance ed eventi al Museo per la Memoria di Ustica. Si gira! Dal 18 al 23 luglio lo schermo di "Si gira!", la piccola arena viaggiante che porta la magia del cinema nei quartieri di Bologna, si sposta al Quartiere Savena in piazza Grigoris Lambrakis. Il film della prima serata è Chiamami col tuo nome di L. Guadagnino (2017). Pleiadi video mapping Dal 18 al 20 luglio 2023 al Fiera District le Torri di Kenzo Tange si accendono grazie a Pleiadi, con uno spettacolare video mapping al ritmo delle percussioni di Pléïades, stupefacente costruzione sonora del compositore-architetto Iannis Xenakis. Porretta Soul Festival Da giovedì 20 a domenica 23 luglio torna Porretta Soul Festival, 35esima edizione di uno dei più importanti festival soul in Italia e nel mondo. Read the full article
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[ad_1] Treasury Secretary Janet Yellen attends the Area Monetary Products and services Committee listening to in Washington, on Sept. 30. (Al Drago, Pool by the use of Reuters) Estimated learn time: 2-3 minsWASHINGTON — U.S. Treasury Secretary Janet Yellen on Tuesday prolonged a cut-off date for a possible U.S. govt default to Dec. 15 from Dec. 3, giving Congress extra time to lift the federal debt ceiling as lawmakers additionally believe an enormous social spending and local weather invoice.Yellen stated in a letter to congressional leaders that the adjustment was once "according to our most up-to-date data," a connection with Treasury tax collections and money drift knowledge.She stated the Treasury would be capable to make a $118 billion switch to the Freeway Agree with Fund required on Dec. 15, a month after President Joe Biden's signing of a sweeping infrastructure invoice on Monday. However the switch would rely in opposition to the debt ceiling, because the budget could be invested in nonmarketable Treasury securities."Whilst I've a prime stage of self belief that Treasury will be capable to finance the U.S. govt thru Dec. 15 and whole the Freeway Agree with Fund funding, there are eventualities by which Treasury could be left with inadequate last assets to proceed to finance the operations of the U.S. govt past this date," Yellen stated.She repeated her name for Congress to lift or droop the debt restrict "once conceivable" to care for the total religion and credit score of america.The brand new estimate offers Democrats in Congress just a little extra respiring house as they search to move a $1.75 trillion measure to offer new power tax breaks and fund new advantages for kid care, common preschool and an expanded kid tax credit score.Senate Majority Chief Chuck Schumer stated on Tuesday that Senate Democrats aimed to move the Construct Again Higher regulation earlier than Christmas — a function that has slipped this autumn as a result of squabbling between centrist and revolutionary Democrats.Warding off defaultDemocrats intention to move the spending invoice with out Republican beef up. Republicans have additionally vowed to oppose a debt restrict building up, striking force on Democrats to move that measure on their very own, complicating an already tough legislative trail for the remainder of Biden's schedule.Senate Republican chief Mitch McConnell previous on Tuesday signaled some wiggle room at the debt restrict, telling journalists: "We will work out easy methods to keep away from default. We at all times do."Schumer stated Democrats nonetheless was hoping to lift the debt ceiling "in a bipartisan approach," however sidestepped questions about whether or not Democrats would continue with out Republican beef up.As Treasury's reported borrowing on Monday was once simply $25 million underneath the present $28.88 trillion statutory debt ceiling, the federal government is depending on tax collections, a $212 billion money steadiness and ordinary money control measures to proceed investment govt operations."As the government's money drift is matter to unavoidable variability, I will be able to proceed to replace Congress as additional information turns into to be had," Yellen stated in her letter.Contributing: Andrea Shalal, Susan Cornwell×Similar TalesExtra tales you'll be fascinated with [ad_2] #Yellen #extends #default #cut-off date #Dec #freeway #fee
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mvisionmetavlog · 11 months
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Cuarta edición del Festival de arte digital MMMAD. Del 4 al 31 de mayo
Del 4 al 31 de mayo tendrá lugar el Festival de arte digital MMAD, que en esta edición pondrá el foco en la amplia y diversa comunidad de creadores y públicos.
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06. Ruinas del Futuro. Lola Zoido.
Comienza una nueva edición del Festival de arte digital MMMAD, con un programa gratuito que se repartirá por diferentes espacios de Madrid. Una vez más, el festival insistirá en el papel del espacio público como punto cultural y las pantallas se convertirán en dispositivos culturales que mostrarán obras de artistas como Dirk Kay, Lauren Moffatt y BORA, entre muchos otros.
Imagen superior: 06. Ruinas del Futuro. Lola Zoido.
Transcending Species. Manel de Aguas.
El festival también acogerá otras exposiciones colectivas, conferencias, talleres y encuentros, todos ellos en torno al arte digital.
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Clear Channel. Andreas Nicolas Fischer.
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Clear Channel. Rafael Rozendaal.
Este año, el Festival de arte digital MMMAD, amplía la propuesta con 442 pantallas urbanas de Clear Channel en toda la Comunidad de Madrid y enormes pantallas de 74m2 de Súper 8 Media en Callao, que mostrarán una selección de obras de artistas internaciones comisariadas por MMMAD, en colaboración con ADAF Athens Digital Arts Festival.
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“Intersection” de Dirk Kay.
“Intersection” es el título de la exposición del artista suizo Dirk Kay, que presentará una selección de obras que investigan la intersección del espacio urbano y la naturaleza y los mundos reales y digitales, todas ellas adaptadas a las singulares pantallas del espacio, la Roca Madrid Gallery, que también presentará una pantalla exterior de 8 m ubicada en la calle José Abascal.
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Lauren Moffatt. Garland. Bubble Vision.
Otras de las exposiciones individuales que se podrá visitar durante el Festival de arte digital MMMAD será “Bubble Vision”, de la artista australiana Lauren Moffat, que expondrá en el _2B space to be, espacio expositivo del estudio de arquitectura y diseño Moneo Brock en Prosperidad.
Esta exposición reúne los últimos trabajos de Moffatt, explorando la fragilidad de las realidades que tan cuidadosamente creamos y que pueden desmoronarse en cualquier instante. La muestra propone un recorrido poliédrico a través de una selección de obras que van desde lo físico a experiencias de realidad aumentada y realidad virtual.
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“My Friends Come From The Clouds” de BORA.
Las pantallas del icónico Palacio de la Prensa volverán a transformarse en enormes lienzos digitales durante el mes de mayo, para acoger la obra de la artista francesa BORA, alter ego de Pauline Canavesio, cuyo trabajo aborda temas como la identidad y la intimidad en el contexto físico-digital.
“My Friends Come From The Clouds” está integrada por cuatro vídeos que investigan paisajes imaginarios como una manera de navegar nuestra realidad a través de la ternura. Un intento de deconstrucción y aceptación que nos invita a mostrarnos como somos, a construir, rescatar y disfrutar con nuestras narrativas. Para esta edición BORA también firma el cartel del Festival de arte digital MMMAD.
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“Drag Up”. Pablo Durango.
TAI Escuela Universitaria de Artes vuelve a formar parte del del Festival de arte digital MMMAD con una instalación multi-media del artista Pablo Durango, que transformará su escaparate en la calle Recoletos 22 en colaboración con un grupo de alumnes de la Escuela. Con “Drag Up”. Pablo Durango propone desarrollar una experiencia de investigación sobre la identidad propia a través del drago y herramientas de creación 3D. Utilizando nuestro propio cuerpo y técnicas digitales contemporáneas, les alumnes construirán una serie de personajes dotándoles de narrativas y características propias.
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Enrique Agudo, Hiereia & The Pantheon of Queer Mytholog.
Participará en esta edición el nuevo espacio independiente Nave Sierra, situado en el barrio de Fuencarral, que abre sus puertas en mayo con una exposición colectiva de artistas digitales. También la Fundación IE se suma también al festival con dos instalaciones de artistas digitales internacionales en la torre IE Tower de IE University, “Sediment Nodes”, de Entangled Others e “Ipseity”, de Enrique Agudo.
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Tomás Saraceno.
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Alba Triana.
La Galería Max Estrella presentará la exposición colectiva “El día que el universo cambió”, con la participación de los artistas Marlena Kudlicka, Arturo Moya, Tomás Saraceno, Alba Triana y Zimoun.
Por otro lado, el espacio de Carabanchel, HYPER HOUSE, invitará al público a participar en “Gesthurladavataro”, del artista Rubén GoMo, comisariada por TODO BIEN. Esta muestra consiste en una instalación masiva colaborativa construida a partir de 3 talleres públicos en los que los participantes podrán conocerse a sí mismos a través de la creación de su propio avatar.
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Enrique Agudo. Ipseity.
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The Heart of the Heart. Teresa Fernandez Pello.
Y por último, otra cita interesante la encontrarás en La Casa Encendida que, con el apoyo de AC/E Acción Cultural Española, se convertirá en un espacio de pensamiento, difusión y debate en torno al arte digital con la celebración del encuentro MMMA Talks, que versará sobre comisariado de arte digital. Con la participación de comisarias y artistas como Julia Kaganskiy, Martina Menegon, Emily Hsiang-Yun Huang, Linda Dounia y Soledad Gutiérrez. Se clausurará el encuentro con la performance de la artista BORA.
Fuente: https://www.neo2.com/
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I pirati in pensione di Andrea Molesini
(ANSA) – ROMA, 08 APR – ANDREA MOLESINI, STORIA DEL PIRATA COL MAL DI DENTI E DEL DRAGO SENZA FUOCO (HARPERCOLLINS, PP 192, EURO 16.50) Andrea Molesini, Premio Campiello nel 2011 con ‘Non tutti i bastardi sono di Vienna’ (Sellerio), torna dopo 22 anni alla narrativa per ragazzi con ‘Storia del pirata col mal di denti e del drago senza fuoco’, pubblicato da HarperCollins con le illustrazioni in…
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micro961 · 1 year
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Andrea Tarquini - L’Amore in Frigo
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Una canzone d'amore senza amore
Il brano è uno dei nove che compongono “In fondo al 900”, terzo album in studio del cantautore romano, milanese d’adozione
Questa canzone funky-reggae è - in parte - il seguito di “Monete”, un brano presente in “Disco rotto”, il secondo album di Andrea Tarquini. Racconta la storia di una coppia. Una coppia di pazzi, un rapporto malato in cui lei va a casa di lui e gli fa le pulizie perché altrimenti lui affoga nella sporcizia. Ovviamente non può farne a meno, ma entrambi si accorgono, piano piano, che questa unione è basata più sul bisogno (e poi sul rancore) che sull’amore e la stima.
«Lo speciale sound americano de L'Amore in Frigo, nel quale si mischiano strumenti della tradizione folk bluegrass con quelli del funky, è in gran parte dovuto alla partecipazione di un personale tecnico e artistico americano con base a Nashville (TN) U.S.A., dove sono state fatte registrazioni aggiuntive. Tutti nomi di livello stellare. Il mandolinista John E. Frazier III (per anni mandolinista di John Cowan ex leader dei New Grass Revival) e tutti questi interventi, come altri sul disco, sono stati ripresi e realizzati da Robertson Stokes, ingegnere del suono che ha più volte lavorato con James Taylor, Jerry  Douglas, Sam Bush, Alison Krauss, Mary Chapin Carpenter, solo per citarne alcuni». Andrea Tarquini
Il brano è una delle nove canzoni contenute in In fondo al ‘900, terzo album del cantautore romano, milanese di adozione, nato come chitarrista del celebre Stefano Rosso. Il disco, prodotto da Fabrizio “Cit” Chiapello contiene la traccia omonima “In fondo al ‘900”, canzone che è entrata nella cinquina Tenco 2022 come Miglior Canzone. In copertina l’opera di Alfred Drago Rens “La petite Gau”. Drago Rens ha curato anche l’immagine grafica del disco.
Dicono di “In fondo al ‘900”
«Terzo lavoro solista per l’ex chitarrista di Stefano Rosso che, in nove tracce orbitanti tra cantautorato americano e folk, racconta storie quotidiane di artisti, poeti, cantautori indipendenti, coppie al bivio, e altre sfumature grigiazzurre di una modernità alienante a cui le generazioni “di ieri” non riescono a rassegnarsi, continuando a cercare la bellezza nelle piccole cose.» Rumore
«Tanti sono gli spunti che caratterizzano questo disco che ha il complesso compito di illuminare quegli angoli della vita che solitamente restano in penombra. Si parla di scontri generazionali, di gap incolmabili e ricerca della bellezza. Godere dei racconti della vita reale è il plus che rende questo lavoro discografico un viaggio in un porto sicuro: un approdo tranquillizzante» Low Music
«Un titolo che può apparire di primo acchito pretenzioso, se non altro per l'immensità di quello che porta dentro di sé quel decennio; in concreto però Tarquini utilizza un titolo altisonante solo per cercare un rifugio nell'anima (che è quello che molti di noi fanno) andando indietro con la mente a periodi della vita in cui eravamo felici o quantomeno ingenuamente vicini alla felicità.» Clap Bands
«Lui è Andrea Tarquini, storico chitarrista della scena romana, di Stefano Rosso tanto per dirne una non di poco conto… lui è un eterno sognatore ma anche un concreto uomo di cultura e di arte e lo dimostra con la delicatezza di un disco alto come “In fondo al ‘900” giunto ad un passo nell’aggiudicarsi la tanto agognata Targa Tenco.» Cherry Press
Etichetta: MoovOn Release album: giugno 2022
Andrea Tarquini, romano trapiantato a Milano, esordisce negli anni ’90 del secolo scorso come chitarrista e corista del mitico Stefano Rosso. Dopo molti anni di formazione passati a suonare musiche tradizionali nordamericane, Andrea Tarquini si sposta a Milano dove inizia un percorso didattico nel quale insegna le tecniche della chitarra acustica americana. Grazie all’amicizia con Luigi “Grechi” De Gregori, fratello maggiore del più celebre Francesco, nel 2013 con la produzione di Paolo Giovenchi, pubblica il suo primo disco, “REDS! Canzoni di Stefano Rosso” (Self) disco finalista alle Targhe Tenco 2013 nella categoria interpreti. Nel 2014 i buoni risultati del primo disco realizzato lo portano a diventare endorser di Bourgeois Guitars, uno dei più prestigiosi marchi di alta liuteria chitarristica degli Stati Uniti. Nel 2016, con la produzione di Anchise Bolchi pubblica “DISCO ROTTO” (Self-Ice Records) disco finalista alle Targhe Tenco 2016 come Miglior Opera Prima. Sempre nel 2016 istituisce il premio per cantautori chitarristi Corde & Voci d’Autore presso l’Acoustic Guitar Village di Cremona che si tiene ogni anno all’interno di Cremona Musica Exhibition & Festival. Nel 2017 partecipa al Premio Bindi dove vince la Targa Beppe Quirici per il “Miglior Arrangiamento”. Tra il 2018 e il 2021 collabora con il rapper Jesto per il quale compone le musiche di molti suoi brani. Nel 2019 amplia ulteriormente il suo rapporto di reciproca sponsorizzazione con alcuni marchi di strumenti di alta qualità tra i quali i microfoni Ear Trumpet Labs e l’italiana Acus, fabbrica specializzata nella produzione di amplificatori per chitarra acustica. Queste collaborazioni porteranno poi i marchi ad avviare attività di sostegno ai produttori di contenuti e live.   Nel giugno 2022 pubblica il suo terzo disco che si intitola “In fondo al ‘900” (MoovOn-Altafonte-Self). Il brano “In fondo al ‘900” in esso contenuto entra nella cinquina Tenco 2022 come Miglior Canzone.
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carmenvicinanza · 1 year
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Sophia Goudstikker
https://www.unadonnalgiorno.it/sophia-goudstikker/
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Sophia Goudstikker è stata una fotografa e poi avvocata, pioniera del femminismo, vissuta tra il 1800 e 1900.
Ha testimoniato coi suoi lavori, il suo modo di vivere e l’inarrestabile attivismo, la necessità di ridefinire gli spazi destinati alle donne.
Lesbica dichiarata, con una fisicità ostentatamente mascolina, sfidava le convenzioni del tempo. Capelli corti, abiti comodi e di foggia maschile, ha posto le basi di una nuova visione della donna, libera dagli stereotipi dell’epoca vittoriana.
È stata la prima donna non sposata in Germania a ottenere una licenza per la fotografia e la prima a discutere casi di minori in un tribunale.
Nata a Rotterdam, in Olanda, il 15 gennaio 1865, dopo due anni si trasferì con la famiglia a Amburgo, in Germania.
Frequentò la scuola d’arte a Dresda dove conobbe Anita Augspurg con cui nacque un importante sodalizio. Insieme, per la prima volta in tutta la Germania, nel 1887 a Monaco, aprirono un’attività tutta al femminile, quello che divenne il mitico Atelier Elvira,  fucina del movimento femminista tedesco.
Uno studio fotografico che divenne un luogo di incontro per le avanguardie artistiche e culturali dei tempi come Isadora Duncan, la Granduchessa di Lussemburgo, Rainer Maria Rilke e tante altre.
Il lavoro nell’atelier delle due donne andò di pari passo con il loro impegno femminista.
Lo studio venne poi chiuso durante la Grande Guerra e il mitico edificio Liberty turchese e viola con la tartaruga e il drago in rilievo sulla facciata, venne distrutto nei bombardamenti.
Con la sua pratica omosessuale disinvolta e libera, Sophia Goudstikker ha ispirato i personaggi di tre libri del tempo: Hans nel libro di Lou Andreas-Salomé L’erotismo. L’umano come donna; lei in Lei e Lui di Frieda von Bülow e Box ne Il terzo sesso di Ernst von Wolzogen.
Libera, emancipata e ribelle, si è battuta per dare alle donne la possibilità di accedere agli studi universitari e farle avanzare negli ambiti sociali e artistici.
Il suo attivismo per i diritti delle donne la spinse a fondare uno studio legale e venne molto apprezzata nel dibattere cause per minori in tribunale, per le quali non serviva la laurea.
La sua relazione con Ika Freudenberg, protagonista di tante battaglie emancipazioniste, con cui visse un sodalizio intellettuale e sentimentale, durò per tutta la sua vita, interrotta a Monaco il 20 marzo 1924.
Sophia Goudstikker ha dato un notevole contributo alla pratica femminista in Germania. Ha portato avanti il concetto di comunità di donne. Il suo studio era il luogo della libertà di genere, le sue stesse immagini testimoniavano il tentativo di andare oltre gli stereotipi e il binarismo imposti dalla società.
È stata una donna che ha osato sfidare la mentalità del tempo, con uno sguardo lungimirante e le idee chiare sulla società che desiderava.
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carica-ficus · 1 year
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Recenzija: (Skoro) Sve Što Znam Do Sad
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Autor: Andrea Andrassy
Datum: 02/01/2023
Ocjena: ⭐⭐⭐⭐⭐
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Tijekom Božićnih praznika dobila sam na poklon par knjigica kojima odmah i započinjem novu godinu. Prvu sam već sredila i mogu reći da me stvarno ugodno iznenadila.
Imala sam svoje sumnje. Ne pratim Andrassy niti sam bila upoznata čime se točno bavi, no znala sam da je relativno poznata ličnost te da spada pod kategoriju influencera na instagramu na koju sam ja pomalo alergična i zbog koje sam bila pomalo skeptična oko sadržaja teksta. Naravno da sam se prevarila.
Nije trebalo dugo da me knjiga osvoji. Ubrzo sam se našla kako uživam u njezinom opuštenom pripovijedanju koje je obilno začinjeno sarkazmom i uobičajenim svakodnevnim frustracijama. Humor je definitivno karakterističan element ove ležerne knjige, no Andrassy se u njenim temeljima opsežno dotiče problematičnih elemenata današnjeg društva, Hrvatskog stanovništa te života iz gledišta žene.
Andrassy spominje kako se socijalno znanje prikuplja godinama te da se uči tijekom čitavog života. Ono također uključuje općepoznate i prihvaćene sustavne probleme koje je nemoguće ukloniti, no važno ih je prepoznati, zaobići i suprotstaviti im se koliko je to moguće, bez obzira koliko je možda taj izraz prkosa naoko beznačajan ili blesav.
Od svih kritiziranih tema, najviše se ističu one koje se tiču javnog poimanja žene, što uživo, a što preko interneta. Andrassy ih predstavlja na vrlo šaljiv način, no u njenim riječima se jasno osjećaju konotacije potisnutog bijesa i bespomoći sa kojima se vrlo jednostavno poistovjetiti.
Osim što je knjiga osvrt na društvene probleme, podsjeća da na svijetu još postoje ljubazni, dragi i brižni ljudi te da je bitno prihvatiti da svaki neznanac zavrjeđuje pristojnost i suosjećanje jer možda je to ono što im je upravo najviše potrebno. Time Andrassy naglašava da je osoba ona koja čini društvo, odnosno da svaki segment cjeline utječe na opći dojam.
Jako mi je drago što mi se ova knjiga toliko svidjela i sa zadovoljstvom je preporučujem drugima. "(Skoro) Sve Što Znam Do Sad" je humorističan osvrt na komplicirano stjecanje socijalnog znanja kroz autobiografske uspone i padove koji će se sigurno mnogima svidjeti i iskreno ih nasmijati, baš kao što je i mene.
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senatushq · 2 years
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Welcome to Rome!
Andreas Gray Sanem Kartal Haeil Ahn  Evelina Cirillo Otto Green Rowan Ivar Indie Dragos
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zanimljivaekonomija · 2 years
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Bečki uskršnji bazari od 1. aprila
U Beču se otvaraju uskršnji bazari od 1. aprila 2022. godine. Ukupo 200 štandova na četiri različite lokacije biće zaduženi za širenje uskršnje atmosfere među posetiocima. U ponudi će biti kreativni uskršnji pokloni, šarena jaja i različite poslastice.
Dva bazara u centru grada, na trgovima Frajung i Am Hof, biće otvoreni od 1. do 18. aprila. Uskršnji bazar ispred dvorca Šenbrun će moći da se poseti od 2. do 19. aprila, dok je bazar na trgu Franca Jonasa otvoren već od 10. marta, a zatvara se 17. aprila.
„Drago mi je da su ove godine odobrena četiri bazara. Bezbedni događaji na otvorenom su lepa promena u ovom trenutku“, izjavio je Andreas Kuthajl, direktor gradskih pijaca.  
Fotografije:  
© WienTourismus/Christian Stemper
© Annie Spratt
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into-the-daniverse · 3 years
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Remember Me | Miriam
Before we jump into Alec’s prologue, I just had this one last part to cover, which is the three year period before the game where Nadia went into her coma. Since Miriam is going to be featured in the prologue (and a few of the routes), I thought it would be important to have this part of the timeline established.
In which, Miriam has to deal with losing Lucio and Nadia, Jamil becoming distant, and Valerius, along with the rest of the courtiers, stepping in for Nadia to take over Vesuvia.
CW: Mention of memory loss, alcohol Title: Remember Me by UMI 4.6k words
Miriam felt like her world had been pulled out from under her in the blink of an eye.
In one night, she had lost two of her closest friends. One to a fire, the other to a deep sleep. 
She could still feel the ghost of flames on her hands as she tried to get to Lucio.
She fought to get into his room, past the courtiers who just stood there, past Valerius, who looked almost as shocked as she felt.
It was the doctor, Doctor Devorak, who had pulled her from the flames, shortly before Valerius had him arrested for killing Lucio. And when Miriam had turned to find Nadia, to see if she could make any sense of what had happened, she found her, asleep, and she wouldn’t wake up for anything.
When Miriam’s older sibling, Andrea Drago, had come to Vesuvia with the rest of the doctors sent to try and treat Nadia, they had been able to reverse most of the burns from her hands, but tiny scars still littered her hands, and her nerves still seemed damaged.
“Ah, Gigi,” they had sighed, holding her as she cried, like they would when she was much smaller. “You always get hurt for others. Who is looking out for you?”
Miriam hadn’t been able to answer, though she knew the answer was “no one.” At least, not anymore.
They had tried to get her to leave, to come home to Venterre with them, but Miriam refused. Nadia was still alive, at least, and Miriam wasn’t going to leave her, not yet.
Unfortunately, staying meant having to deal with the court even more intimately than she was used to, and it meant dealing with Valerius, who, having stepped in for Nadia, was more insufferable than he had ever been, and it drove her up a wall.
He used to be someone she could at least talk to, even if it wasn’t for long, they had more in common than they liked to admit. But now, it was like she didn’t know him anymore. So, she felt completely alone.
In the back of her mind, she knew that Jamil was still in the city, and she meant to visit him, but every time she tried to leave the palace, something new came up that required her attention. But, a few months later, Jamil came to the palace for the first time in almost a year.
Miriam dropped everything she was doing when the chamberlain came to her and let her know Jamil was at the palace. He was waiting in a salon when she found him, pacing.
“Alfonso?” She ran to him, looking him up and down. He didn’t look like he had after Alec’s death, but there was still something… off about him. “Are you alright? I haven’t heard anything from you in months now, what happened—"
Jamil didn’t even greet her before he spoke. “We’re leaving the city.”
Miriam stopped, her head tilting to the side. “You—what? Why?”
He looked exhausted in a way that she had never seen before, different from even how he had looked when she visited him at the shop with Nadia. Exhausted, but there was some fire, some anger she didn’t recognize on him in his eyes. Jamil glanced around them, though they were alone in the salon, and leaned in closer.
“It’s Alec.”
Miriam was completely lost. “What… what about her?”
“She’s back. She’s back, and we don’t know how, but she’s not… something’s not right.”
“You’re not making any sense.”
Jamil laughed roughly, a harsh sound that didn’t fit coming from his mouth and pushed his hair back out of his face. “Nothing makes much sense anymore. But Alec’s back, she’s alive again.”
“What?” Miriam sunk down onto the couch, hand covering her face. “She—How—” Looking up at Jamil, she felt desperation creep into her voice. Desperate for any sense of familiarity. “Can I see her?”
“No.” Jamil stayed standing, starting to pace around the salon again. “She doesn’t… She doesn’t remember anyone.”
“Not even you?”
He paused in his pacing. Miriam watched him age in front of her eyes, and suddenly the five-year gap between them felt much larger.
“Not even me,” he said, a tremor in his voice.
“But… you just said you’re leaving the city. Why would you do that—shouldn’t you be staying with her? Even if her memories are gone, you can still help her—"
“I know that!” Jamil sighed, sitting on the couch next to her. “I know that.” He buried his face in his hands. “I don’t want to leave. I feel like—like we’re making a horrible mistake. But she… she’s just getting worse with us here.”
Miriam wrapped her arm around his shoulder, and he leaned into her. “Where will you go?”
“Not far. There’s—we found a hut in the Catclaw Desert that the three of us will fit comfortably in. It’s almost a three days walk from Vesuvia, but still, not too far.”
“What about Nadia?”
He pulled back to look at her. “What do you mean?”
“She’s… she’s been asleep for months. Is there anything you can do for her? You’re just going to leave her, and me, too?”
Jamil sighed again, shaking his head. “I can’t stay here, Giano, believe me, I wish I could. But I doubt there’s anything I could do for Nadia. I know Drea saw her, and if they couldn’t help her, there’s nothing I can do. It’s not like I have any magic to help.”
Miriam knew that. She had figured that out on her own, and knew she was just as helpless. But the idea of being alone in Vesuvia made her want to cry.
“Would you write to me?”
Jamil gave her a soft smile, but it didn’t reach his eyes. “I’ll try.”
They sat in silence for a moment before Jamil stood up to leave. Miriam followed him out of the salon, stopping at the doors behind him.
“Giano, can you promise me something?”
Miriam nodded.
“Please don’t reach out to Alec. I know—” his shoulders sagged. “I know it’s hard. I know you want to see her. But if she sees you, we don’t know what might happen.”
For a second, Miriam wanted to argue. She wanted to say that wasn’t fair, he got to see her, but she didn’t. But she took in the deep, suffocating sorrow in his eyes, a darker green than she remembered, and just nodded again. “I promise.”
“Thank you.” Jamil hugged her tightly, once, and then he was gone.
Miriam’s head felt heavy on her shoulders, and that night she didn’t sleep, staring at the ceiling. She could only think about the last time she had seen Alec, in the palace, dressed in the same doctor’s outfit that so many people had been. She had seemed so tired, so worn, but she always gave Miriam a smile and wave when they passed each other.
And then she had disappeared. Died, and Miriam hadn’t noticed until it was too late.
***
She broke her promise to Jamil exactly once.
Six months after he left, she made her way to the shop in the evening. It had been a long, horribly frustrating day, and she knew that she wasn’t in the right mind to be leaving, but she didn’t stop herself. All day she had fought endlessly with the court, fought endlessly with Valerius, and fought with herself on staying. She needed something, anything familiar. Anything good. And she could only think of one thing that she had left.
Losing herself through the streets a few times, finally she reached the shop as the moon began to rise. She went to knock on the door, but hesitated, hearing the sound of the shop’s old piano ring from inside.
She thought she could hear singing along with the piano, familiar singing, and turned to go around the back of the shop when the door opened.
It wasn’t Alec that answered the door, but the magician, Asra. Miriam had crossed paths with him a few times while he helped Doctor Devorak work on a cure for the plague, but he had also practically disappeared after the Masquerade.
Asra glanced behind him and stepped out of the shop, closing the door softly. “You… You’re Miriam, right?”
She nodded. “Asra.”
He mirrored her nod, white hair shaking around his face, his hands pressed behind him on the door. “What are you doing here?”
“I…” She tried to keep the desperation out of her voice. “I wanted to see her.”
“Jamil told you?”
“Just that she was back, somehow. And… that she doesn’t remember anyone.” She watched Asra’s face fall, just slightly.
“And you still came.”
“I just wanted to see her,” she repeated. “I know—Jamil asked me not to try to reach out to her, and I’m not, I just… I just wanted to make sure she was okay. When he told me she was back, I almost didn’t believe him. But…”
Asra sighed, running a hand through his curls, and Miriam wondered for a moment if he had learned that motion from Jamil. As far as she knew, he had been friends with Alec for a very long time, and surely, he had spent just as much time with the rest of the band.
Before she could wonder further, he walked away from the door. “Come on, I’ll let you see her.”
Miriam felt her heart leap in her chest and hurried to follow him around the back of the shop. They paused at the back window, looking into the shop’s back room, and Asra stepped aside, letting Miriam peek in.
In the far corner, Alec was sitting at the upright piano, sheet music scattered around her. It looked just like the room always had, if it wasn’t for how empty it was aside from her. Her long hair trailed down her back, unbraided, but though it much have been somewhat in her eyes, Alec didn’t seem bothered. She seemed almost in a trance as she played, swaying on the rickety piano bench that groaned with every movement. Miriam didn’t recognize the song Alec was playing, but it brought tears to her eyes as Alec sang, her voice soft and tired.
“She still won’t… won’t speak to me, yet, but she’s singing. That’s better than silence.” The pain Miriam heard in Asra’s voice made her chest hurt, and she turned to him.
“Is there anything I can do to help you? Either of you; I can get you anything from the palace, or send for my sibling—they’re a doctor, they could help—"
Asra shook his head. “Went over that with Jamil. There’s nothing a doctor can do to help her… not with this.” He leaned against the wall of the shop. “And there’s really nothing we need. Before the plague, Camia signed the shop to both of our names, and when they left Jamil gave us a lot of money from his family. I just—we just need her to keep recovering, for now.”
Whereas Miriam had watched Jamil age in front of her before, now she saw Asra for just how young he was. He wasn’t meant to be a caretaker to his friend, he wasn’t meant to have these kinds of concerns. It wasn’t fair.
Miriam looked back at Alec, who was still tapping away at the keys, her voice cracking slightly as she sang. She was only a year older than Asra, still too young to have to deal with the same things. She came back, but at the cost of her family and friends, her memories. It wasn’t fair.
Before she could give into her tears in front of Asra, Miriam hugged him. “I’m sorry,” she whispered, and she felt him hug her back, hesitantly at first, then his grip tightened.
He didn’t reply, he just shook in her arms, and she held him as he cried.
After a while, the music inside the shop stopped, and Asra pulled away. “I need to get back to her.”
Miriam nodded. “Thank you, for letting me see her.”
He gave her a small smile, eyes red. “If we need anything, I’ll let you know. But, for now…”
“I’ll stay away, I promise.”
Asra went back inside, but Miriam stayed at the window for a moment, watching as he walked into the back room. Alec was glancing around the room, a distant look in her eyes. Once he entered, she stood up from the piano almost immediately, running over to him, and threw her arms over his shoulders. She couldn’t see the tired look on Asra’s face, but Miriam could, and just as he glanced back at the window, she left.
She managed to hold herself together all the way to the Palace, only collapsing into her own tears when she reached her room, the moon high in the sky.
***
Almost two years after Lucio’s death, Miriam realized that she needed more help around the palace. She and the chamberlain split most duties, but Miriam was having trouble tending to the needs of the palace and Nadia. As much as it pained her, she couldn’t be by Nadia’s side like she wanted to.
So, when a smart young woman from Nevivon practically landed on the palace steps looking for work, how could Miriam say no?
As a plus, Portia, as she introduced herself, was quite fun.
The two of them got along very quickly, and it became a game for them to pass by each other in the halls and share some tidbit of gossip or go over the magical passageways hidden throughout the palace. Portia was far better at finding them than Miriam was, but she didn’t mind. The rest of the palace took a liking to her as well, and she fit right in with servants who had been there for decades.
Appointing her as Nadia’s handmaiden was the easiest choice Miriam had ever made, and she trusted her completely to look after Nadia. More than once she caught Portia talking to Nadia as she slept, and Miriam would laugh and tease her about it, but nothing made her happier.
One day, Portia was with her when the mail came in, and they both sat in Nadia’s room looking it all over. Miriam was sifting through the letters when one in particular caught her eye.
It was from one of Nadia’s sisters, from Prakra, addressed to Nadia.
“What’s that one say?” Portia asked, noticing Miriam pause.
“It’s from Nasmira… Uh, one of Nadia’s sisters.” Miriam looked the letter over quickly and sighed. “Dia never liked talking about them much. I don’t think they got along very well.” She tucked the letter into a drawer in Nadia’s desk with a handful of similar letters.
Portia tilted her head in confusion. “Aren’t you going to reply to it?”
“I’ve written her family before and explained the situation as best as I could.” She shut the drawer. “Having them come here wouldn’t be helpful to anyone right now, so there’s no need to worry them further.”
Judging by the look on Portia’s face, she didn’t agree, but Miriam just moved on, turning back to the other letters.
***
Finally, almost three years after Lucio’s death, Nadia woke up.
Miriam was in the kitchens, helping unload a shipment of food, when Portia ran into the kitchens from a magical passageway, hair loose and panting hard.
“Miri, she’s awake!”
Miriam ran past Portia, not even giving her a second to say anything else. She flew down the hallways to Nadia’s room, and composed herself just enough to not throw the doors open to see Nadia.
The Countess was sitting up in her bed, very much awake, if not a bit sluggish, but she turned her head to look at Miriam as she entered.
“Dia!” Miriam was by her side immediately, reaching out to take Nadia’s hand. “Oh, thank the gods you’re awake—I was beginning to think—”
When Nadia pulled her hand away, Miriam stopped, worry settling over her shoulders again.
“Are you okay?”
“I am…” Nadia touched her head to her head, pain flashing across her face for the briefest moment. “I am fine, yes. You…”
“Miriam.” Her heart sank to her stomach. “Miriam Diamandis? I—I’m the palace’s sommelier, have been for a, uh, few years now.”
“Yes. Miriam.” Nadia waved her off, and Miriam stood back, feeling as if she had been slapped across the face. “Would you please call Portia back in here for me? I feel a headache coming on.”
As she spoke, and turned to face Miriam, her heart fell even further. There it was. The same distant look Miriam had seen on Alec’s face, but directed at her now, and from the woman she loved most in the entire world.
“I… Of course. My apologies, Countess.”
On shaking legs, she stood up from the bed, and made her way out of Nadia’s room, passing Portia in the hall.
“She asked for you.”
Portia’s mouth fell open in shock and she glanced past Miriam. “For me?”
She nodded, and just kept walking. And kept walking until she had made it to her wine cellar, fumbling with the key in the lock, almost stumbling down the stairs as she started to sob.
Nadia didn’t remember her. And she had no idea why.
Was it her fault? Had she done something to make her forget? Did Nadia not want to remember her?
It must have been hours that Miriam sat in her cellar and cried, though for once no one came searching for her. Except for Mercedes and Melchior, who scratched and howled at the cellar door for a minute until someone chased them away.
Eventually Miriam calmed enough to look around her, and sought out a bottle of wine, something strong that she had been saving for better times, but figured that she needed it now.
She had almost finished the bottle when she heard a voice at the top of the cellar stairs, closing the door behind them.
“Miriam?”
It was Valerius. Miriam swore, trying to wipe at her eyes as quickly as she could. He was the absolute last person she wanted seeing her like this, so close to her breaking point.
As she fixed herself, he continued down the stairs, heels clicking with every step. “Are you down here?”
She cleared her throat. “Yeah, I’m here. What do you want?”
“I heard Nadia woke up.” Valerius walked over to the table, sitting across from her with a huff, throwing his braid over his shoulder. “I went to visit her, and she seemed in good health, if not a little disoriented.” He took the bottle of wine from her and grabbed an empty glass, not looking at her as he spoke. “I must say I was surprised that you weren’t glued to her side, instead, that new servant girl was with her. What was her name again?”
“Portia.” Miriam huffed, irritation spiking her tone. “And she’s been here a year, she’s not new anymore. You would know that if you paid any attention to someone other than yourself and I—”
Valerius was staring at her now, having stopped pouring his wine. They held the stare for a moment before Miriam’s cheeks grew warm, and she covered her face in her hands.
“I’m sorry.”
“No, you’re not.”
She laughed through her nose. “No, I guess not.” Sighing, she peeked out at him between her fingers, and shook her head when she saw his full glass. “Having a rough night?”
“Says the woman who finished the rest of the bottle on her own.”
“And you didn’t think to ask me if I was having a rough time?”
“That would require me to pay attention to someone other than myself, I think.”
A dry laugh escaped her. “I suppose it would.”
They fell into silence, Valerius sipping at his wine and studying her. Miriam was used to that by now, the way his cold gaze would trail over her as he prepared some sly comment to make, but it felt different this time. Maybe because she was vulnerable, so close to breaking down, and his gaze felt like it was poking into the cracks around her mask. Maybe because, despite everything they had gone through the last few years, at least they had gone through it together—more or less—and he was the last piece of the time before Lucio died that she had left.
When he finally broke the silence, what he said was so far from what she was expecting, so unlike him, it almost brought her immediately to tears.
“Have you been sleeping?”
She looked up at him, fidgeting with the rim of her own glass. “Um, not… not really.” Sighing, she glanced at the now empty bottle of wine and stood to get another. “There’s just so much to do, and I mean, now that Nadia’s awake, I might be able to relax a little bit, but then—” She doesn’t even remember me.
Once that thought—that fact, reappeared in her mind, Miriam broke. She wished she could disappear, that the floor would swallow her whole, anything, but instead she stood in place, shoulders shaking as she started to cry again.
She barely heard the sound of Valerius’s chair scraping the floor as he got up and walked over to her, but the feeling of his hand on her arm—as much as she craved it—made her tense up.
“No, don’t.” She stepped back, turning away from him. “Don’t.”
Valerius didn’t touch her again, but he didn’t leave either. “Miriam, what is it? Is there something wrong with Nadia?”
There’s something wrong with me, she thought, but just shook her head in reply, wiping at her eyes. “No—I mean, I’m just… happy she’s awake. Finally.”
He exhaled sharply, walking past her to pull another bottle of wine. “You are the world’s worst liar, Miriam Diamandis.”
Miriam bristled, facing him again. “Hey! I’m not—” he shot her a look over his shoulder as he walked back to the table, refilling his glass. She felt her cheeks warm and sat back down across from him. “…not that bad of a liar.”
He refilled her glass and set the bottle on the table. Holding his glass, he gestured to hers, and she lifted it up. They nodded slightly at the other, and after they had both taken a sip, he spoke again.
“I won’t ask you again if anything’s wrong; you clearly don’t want to tell me, and that’s fine. That’s not who we are to each other.” Valerius looked almost remorseful, almost, but it was gone as Miriam blinked. “And to be frank, I have enough problems of my own to handle right now to be worrying about yours as well. Ones I don’t want to get into, here.”
Miriam laughed, once, taking another sip. “Thanks, Val.”
“But—” He held his hand up. “But this,” he gestured between them and at the bottle of wine, “this we could stand to do more often, I think. We used to do this even when Nadia and Lucio were both… around, I suppose, and do you not think that for one evening a week, every two weeks, even, this might be something we would both benefit from?”
“What, a bitch session?”
“You—Fine, yes, a bitch session, you vulgar woman.”
“You never seemed to mind vulgarity from me at night before.” Miriam laughed, really laughed, when she saw the look on Valerius’s face, a mix of anger, exhaustion, and mortification, and she waved her hand. “Alright, alright, I’m sorry.”
“I take it back.”
“Aw, no, Val, I said I’m sorry.”
Valerius grumbled, sipping at his wine, but didn’t get up to leave.
“I did miss this. I missed a lot of things about how we all were before—” She still couldn’t say before Lucio died, even after all that time. “Before the last Masquerade.”
If Valerius noticed what she skirted around, he was gracious enough to not comment on it, though she assumed he was just as tired of it as she was. “It was… considerably different then.”
She took another sip of wine. “That’s putting it mildly.”
“Hm.”
For the first time in a few years, they slipped into a comfortable silence, which eventually turned into a comfortable conversation. One thing they still had in common was their hatred of the rest of the court, and they were quick to bring up a particularly infuriating meeting from a week or so ago.
When they finished that bottle of wine, they left, parting ways at the top of the stairs.
Miriam wished him good night, knowing instinctively that the moment they had shared would not be easily recreated, and most likely would be soured by whatever the next day would bring, but for now, she would enjoy it.
She almost turned to go to Nadia’s room, on instinct, but stopped. It would probably be better, for herself and Nadia, if she let her remember on her own time, and didn’t try to force it. Miriam had been waiting for her to wake up for so long already, what was a little more time to let her recover?
So, she kept her distance.
But Nadia did not seem to be able to remember, or want to remember, and Miriam watched her, and Portia speak together much like Miriam used to, and felt her heart drag behind her on the ground with every step.
There was one morning that Miriam happened to catch them both on the veranda as Nadia took breakfast, her head in her hands.
“If only I could find that magician, Portia, I am sure I would have my answers.” Nadia sighed, shaking her head. “So much still unclear, but they were there, in my dreams. They must know something.”
Portia hummed as she poured Nadia’s tea. “I can ask around, Countess, see if anyone has seen them. What did they look like, again?”
As Nadia described the magician in her dreams, Miriam couldn’t stop herself from joining them outside, her feet moving faster than she could stop them.
Both Nadia and Portia turned to look at her, falling silent.
“Forgive me for overhearing, my lady.” Miriam bowed, but continued quickly before Nadia could say anything. “But I believe I know the magician you dreamt of.”
Nadia exchanged a glance with Portia. “You do?”
“I…” Miriam saw sapphire eyes sparkling under ballroom lights, warm brown skin glistening in the morning sun, heard laughter as it echoed through the halls of the palace, felt calloused hands in hers. She also saw the distant look in those blue eyes, the way her voice had cracked when she sang, and heard the haunted whispers of the city in her wake. “I know of her, at least.”
“Would you tell me about her? At least where I might find her? I can’t explain it, but I feel that I must meet with her.”
When Portia pulled a chair out for her, Miriam sat down, across from Nadia, her hands clasping and unclasping in her lap. Gods, she hoped she was doing the right thing. She had promised Jamil, and Asra, to stay away. But Nadia was looking at her, really looking at her, for the first time in what felt like forever. And she needed her again, even if just for a moment. And maybe, after almost three years, it had been long enough. With a deep breath, she pushed her doubts aside and spoke.
“Her name is Alec.”
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lamilanomagazine · 1 year
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Bari: Le anticipazioni della stagione teatrale 2023/2024
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Bari: Le anticipazioni della stagione teatrale 2023/2024. In occasione dell’ultimo appuntamento della stagione di prosa e danza 2022/23 della Città di Bari, questa sera, come da tradizione, al pubblico presente in sala sarà consegnata una nota con alcune anticipazioni sulla prossima stagione teatrale organizzata dal Comune di Bari in collaborazione con il Teatro Pubblico Pugliese. Di seguito il testo della lettera a firma dell’assessora alle Culture, Turismo e Marketing territoriale del Comune di Bari, Ines Pierucci: “Quella che si chiude è una grande stagione contraddistinta dalla partecipazione di un pubblico che ha segnato la piena ripresa delle emozioni condivise nella platea del Teatro comunale Niccolò Piccinni. Colgo l’occasione per raccontarvi alcune anticipazioni della stagione teatrale di Bari 2023/24, un cartellone ormai sempre più interdisciplinare ideato dal Comune di Bari e dall’assessorato alle Culture che rappresento, in collaborazione con il Teatro Pubblico Pugliese, strutturato anche grazie al vostro contributo, al gradimento espresso durante gli spettacoli, alle vostre suggestioni, agli incontri con gli studenti e con i cittadini. La prossima stagione attraverserà un percorso dedicato alla narrazione scenica dei grandi classici, ma anche ai grandi temi di attualità e al dialogo fra linguaggi: importanti regie, indimenticabili testi della tradizione e drammaturgie contemporanee, grandi attori e attrici e uno sguardo alla scena mondiale. Sarà una stagione ricca di emozioni che ospiterà esclusive regionali, debutti nazionali e spettacoli pluripremiati con tournée internazionali e vincitori di Premi Ubu. Nonostante la difficoltà degli anni trascorsi, l’amministrazione non si è mai  dal garantire alla città un’offerta culturale sempre più di qualità, rendendola accessibile a tutti con trasversalità nei temi e nella partecipazione. Oggi siamo consapevoli di quanto il teatro sia un luogo di comunità e di quanto il suo senso sia determinato dalla dimensione politica, con la sua missione sociale e la valenza antropologica che costruisce un teatro senza confini. Il teatro è una sfida, è una terapia, con l’ambizione di rappresentare una nuova, ricca e innovativa offerta ai cittadini per la scelta di benessere sociale e felicità condivisa che una comunità può vivere. La scelta degli spettacoli è degna delle più grandi città italiane, articolata e potente, strutturata sul percorso costruito insieme ad un pubblico di spettatori sempre più variegato, ergendosi, grazie alla magia degli attori e al gioco della finzione, alla più profonda sincerità. Dedico a voi, pertanto, spettatori consapevoli, il mio arrivederci a presto nella platea del nostro amato universo del Teatro Piccinni”. Le anticipazioni della prossima stagione: - LA TEMPESTA di William Shakespeare | traduzione e adattamento Alessandro Serra: con (in ordine alfabetico) Andrea Castellano, Vincenzo Del Prete, Massimiliano Donato, Salvo Drago, Jared McNeill, Chiara Michelini, Maria Irene Minelli, Valerio Pietrovita, Massimiliano Poli, Marco Sgrosso, Marcello Spinetta, Bruno Stori. Regia, scene, luci, suoni, costumi Alessandro Serra. Teatro Stabile di Torino - Teatro Nazionale / Teatro di Roma - Teatro Nazionale / Emilia Romagna Teatro ERT - Teatro Nazionale / Sardegna Teatro / Festival d’Avignon / MA scène nationale - Pays de Montbéliard. - LA VITA DAVANTI A SÉ | traduzione Giovanni Bagliolo edizione Biblioteca Neri Pozza: tratto dal romanzo “La Vie Devant soi” di Romain Gary / Emile Ajar; direzione musicale Simone Campa; con l’Ensemble dell’Orchestra Terra Madre; scene Roberto Crea; disegno luci Valerio Peroni; costumi Piera Mura; organizzazione Maria Laura Rondanini; riduzione e regia Silvio Orlando. Cardellino. - SAMUSÀ | scritto da Virginia Raffaele, Giovanni Todescan, Francesco Freyrie, Daniele Prato: Regia Federico Tiezzi. ITC2000. - MOBY DICK ALLA PROVA di Orson Welles | adattato - prevalentemente in versi sciolti - dal romanzo di Herman Melville: traduzione Cristina Viti e con Cristina Crippa, Angelo Di Genio, Marco Bonadei, Enzo Curcurù, Alessandro Lussiana, Massimo Somaglino, Michele Costabile, Giulia Viana, Vincenzo Zampa, Mario Arcari; costumi Ferdinando Bruni; musiche dal vivo Mario Arcari, direzione del coro Francesca Breschi; maschere Marco Bonadei, luci Michele Ceglia, suono Gianfranco Turco; uno spettacolo di Elio De Capitani; Lo spettacolo è dedicato alla memoria di Gigi Dall'Aglio. Teatro dell’Elfo / Teatro Stabile di Torino - Teatro Nazionale.... #notizie #news #breakingnews #cronaca #politica #eventi #sport #moda Read the full article
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womanbride · 4 years
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Palazzo del Drago a Bolsena svela i propri tesori. Uno scenario unico di storia, cultura ed arte per realizzare eventi esclusivi
Palazzo del Drago a Bolsena svela i propri tesori. Uno scenario unico di storia, cultura ed arte per realizzare eventi esclusivi
Don Ferdinando del Drago apre le porte della splendida dimora di Bolsena, in una presentazione alla stampa nel corso della quale, Stefania Marchetti in veste di location manager in esclusiva, evidenzierà la vocazione al destination wedding, eventi corporate top level e turismo d’eccellenza del Palazzo.
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Palazzo del Drago
Sabato 26 ottobre 2019 Palazzo del Dragodi Bolsena si presenta alla stampa ed…
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medullazs · 3 years
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T H E  D R A G O S
(A legacy family that I’ve always wanted to play out! )
Saul and Andrea Drago are in their early 40s but don’t look a day over 25, Getting married at twenty was a dosey for the pair but what came about was a testimony and pair of twins. 
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