Notre Dame

Notre Dame
This was not an accident. That was a crime. (Photo by Francois Mori)

Wednesday, April 17, 2019

Monsieur Manu, are you a liar or a fool? Or both?














Macron hopes to rebuild "more beautiful" Notre Dame in five years. "I'd say decades", said Eric Fischer, head of the foundation in charge of restoring the 1,000-year-old Strasbourg cathedral.

French President Emmanuel Macron has vowed to rebuild the Notre Dame Cathedral "even more beautifully" within five years, as France reeled with shock from the fire that gutted the great Paris landmark.

Mr Macron announced the fast timescale  for a process some experts said would take decades  in an address to the nation where he hailed how the disaster had shown the capacity of France to mobilise and unite.

Pledges worth around €700m have already been made from French billionaires and businesses to restore the Gothic masterpiece.

Most of the roof has been destroyed, its steeple has collapsed and an unknown number of artifacts and paintings have been lost. The main organ, which had close to 8,000 pipes, has also suffered damage.

But the cathedral's walls, bell towers and the most famous circular stained-glass windows at France's most visited tourist attraction remain intact.

Mr Macron's defiant comments indicated he wants the reconstruction of the cathedral to be completed by the time Paris hosts the Olympic Games in 2024.

"We will rebuild the cathedral even more beautifully and I want it to be finished within five years", Mr Macron said from the Elysee Palace. "And we can do it."

He said that the dramatic fire had brought out the best in a country riven with divisions and since November shaken by sometimes violent protests against his rule.

"What we saw last night in Paris was our capacity to mobilise and to unite", Mr Macron said, hailing France as a nation of "builders".

Source: rte


This was not an accident. That was a crime. (Photo by Francois Mori)
















Tuesday, April 16, 2019

Kalevi Aho: Sieidi - Concerto for Percussion and Orchestra – Martin Grubinger, Gothenburg Symphony Orchestra, Santtu-Matias Rouvali (HD 1080p)














Austrian Martin Grubinger is a celebrated star in Europe and one of the world's most distinguished multi-percussionists. His repertoire is both extensive and broad, ranging from solo works and chamber music to percussion concerts. He often appears together with his own percussion ensemble, the Percussive Planet Ensemble, but also with prominent chamber ensembles and symphony orchestras. His incredible technology and musical versatility make his concerts something extra.

Sieidi, from the northern Finnish language Samí, is the word for an ancient cult or ritual place and composer Kalevi Aho thinks the Finnish fell of Luosto was probably used for this purpose. Ritual is the overriding force in the concerto, whether in the pounding opening or in the frenzied solos given to the percussionist as he moves around the stage. Aho has the soloist move from hand-beaten drums to instruments of pitch (marimba, vibraphone) to tam-tam, then back again in sequence. It's not all vigorous and primitive: on reaching the marimba, the soloist seems to tame the previously restless orchestra; later, crystalline bowed vibraphone marks the point of furthest retreat from the clatter.

Watch this magical concert by Grubinger together with the Gothenburg Symphony Orchestra led by Santtu-Matias Rouvali.

Filmed at Gothenburg Concert Hall, on February 15, 2018.

Source: bachtrack.com



Kalevi Aho (b. 1949)

♪ Sieidi - Concerto for Percussion and Orchestra (2010)

Martin Grubinger, percussion

Gothenburg Symphony Orchestra
Conductor: Santtu-Matias Rouvali

Gothenburg Concert Hall, February 15, 2018

(HD 1080p)


Kalevi Aho, one of Finland's foremost contemporary composers, was born in Forssa in southern Finland on 9th March 1949. He commenced violin studies in his home town at the age of ten, and his first compositions also date from this time. From the autumn of 1968 he studied the violin and composition at the Sibelius Academy in Helsinki; his composition teacher was Einojuhani Rautavaara.

After graduating as a composer (1971), Kalevi Aho continued his studies in Berlin (1971-1972) as a pupil of Boris Blacher at the Staatliche Hochschule für Musik and darstellende Kunst. From 1974 until 1988 he was a lecturer in musicology at Helsinki University, and from 1988 until 1993 he was a professor of composition at the Sibelius Academy. Since the autumn of 1993 he has worked in Helsinki as a freelance composer.

The central focus of Aho's work consists of large-scale orchestral, chamber and vocal works; to date his output includes five operas (1978-2013), sixteen symphonies (1969-2014), twenty-eight concertos (1981-2016), three chamber symphonies for string orchestra, other orchestral and vocal music and a large amount of music for chamber ensembles and solo instruments.

He has also made a number of arrangements and orchestrations of works by other composers. The most important of these is the completion of Uuno Klami's unfinished ballet Pyörteitä (Whirls). In 1992 the Lahti Symphony Orchestra appointed Kalevi Aho composer in residence, and since 2012 he has been its composer laureate.

In Finland Aho has also gained a reputation as an assiduous writer on music and with his writings and speeches he has also taken a critical stand on the culture politics of Finland. He has occupied a number of important positions in Finnish cultural life.

Source: bis.se















Hailed by The Guardian as ​"the latest sit-up-and-listen talent to emerge from the great Finnish conducting tradition", the 2018-2019 season will see Santtu-Matias Rouvali (b. 1985) continuing his positions as Chief Conductor of the Gothenburg Symphony and Principal Guest Conductor of the Philharmonia Orchestra, alongside his longstanding Chief Conductor-ship with the Tampere Philharmonic Orchestra close to his home in Finland.

Rouvali has regular relationships with several orchestras across Europe, including the Orchestre Philharmonique de Radio France, Oslo Philharmonic Orchestra, Bamberger Symphoniker and the Deutsches Symphonie-Orchester Berlin. As well as making his debut with the Münchner Philharmoniker this season, he also returns to North America for concerts with the Minnesota Orchestra and Detroit Symphony Orchestra.


Following a very successful Nordic tour with Hélène Grimaud last season, the Gothenburg Symphony is back on the road in February 2019 for a tour hitting major centres in Germany and Austria with pianist Alice Sara Ott, and percussionist Martin Grubinger who premieres a new percussion concert by Daníel Bjarnason. Rouvali looks forward to other ambitious touring projects with his orchestras in the future, including appearances in North America and Japan.


In addition to the extensive tour, Rouvali's season in Gothenburg opens with Strauss' Alpine Symphony accompanied by Víkingur Ólafsson Mozart Piano Concerto No.24, and he looks forward to collaborations with Janine Jansen, Patricia Kopatchinskaja and Baiba Skride throughout the rest of the season.


As another cornerstone to his tenure in Gothenburg, he is adding his mark to the Orchestra's impressive recording legacy. In partnership with Tampere Philharmonic Orchestra and violinist Baiba Skride, a recording featuring concertos from Bernstein, Korngold and Rozsa is released in autumn 2018. This continues his great collaboration with Baiba Skride following their hugely successful recording of Nielsen and Sibelius' violin concertos with the Tampere Philharmonic Orchestra in summer 2015.


Rouvali has been Artistic Director and Chief Conductor of the Tampere Philharmonic Orchestra since 2013. Highlights of the tenure so far include a Sibelius symphony cycle in autumn 2015, and the Orchestra's first tour to Japan in spring 2017 where they were accompanied by an exhibition of original Moomin drawings by Tove Jansson to mark the opening of the new museum at the Tampere Hall. He opens the 2018-2019 season with a Beethoven programme with pianist Javier Perianes.


Alongside an extremely busy symphonic conducting career, as Chief Conductor in Tampere he has conducted Verdi's La forza del destino and most recently world premiere of Olli Kortekangas's My Brother's Keeper (Veljeni vartija) with Tampere Opera in spring 2018.


Source: harrisonparrott.com
































































More photos


See also


Santtu-Matias Rouvali – All the posts


Gothenburg Symphony Orchestra – All the posts


Saturday, April 13, 2019

In the Name of (2013) – A film by Małgorzata Szumowska – Andrzej Chyra, Mateusz Kosciukiewicz, Maria Maj, Maja Ostaszewska, Lukasz Simlat, Tomasz Schuchardt (Download the movie)











Adam is a Catholic priest who discovered his calling as a servant of God at the relatively late age of 21. He now lives in a village in rural Poland where he works with teenagers with behavioral problems who fight and yell abuse. He declines the advances of a young blonde named Ewa, saying he is already spoken for. However, celibacy is not the only reason for his rejection. Adam knows that he desires men and that his embrace of the priesthood has been a flight from his own sexuality. When he meets Lukasz, the strange and taciturn son of a simple rural family, Adam's self-imposed abstinence becomes a heavy burden.

Source: filmmovement.com


"Magnetic! It's a film to be admired." — Jonathan Romney, Screen Daily

"This is emphatically not a typical melodrama... and thank god for that!" — Kevin Langson, The Edge San Francisco

"An understated, sensitive film!" — David Lewis, San Francisco Chronicle

"You won't forget Chyra's remarkable face, his eyes seemingly lit from within by the tortured melancholy of a medieval saint." — Anthony Quinn, Independent















In the Name of / W imię... (2013)

A film by Małgorzata Szumowska

Directed by Małgorzata Szumowska
Written by Michal Englert and Małgorzata Szumowska

Starring
Andrzej Chyra..........Priest Adam
Mateusz Kosciukiewicz..........Lukasz
Maria Maj..........Lukasz's mother
Maja Ostaszewska..........Ewa
Lukasz Simlat..........Teacher Michal Raczewski, Ewa's husband
Tomasz Schuchardt.........."Blondi"

Director of photography: Michal Englert
Production designer: Marek Zawierucha
Costumes: Katarzyna Lewinska, Julia Jarza-Bratiniec
Editor: Jacek Drosio
Music: Paweł Mykietyn, Adam Walicki

Producer: Agnieszka Kurzydlo
Co-producers: Beata Ryczkowska, Malgoska Szumowska, Peter Garde

Production companies: Polish Film Institute, Canal+, Mental Disorder 4, Zentropa International Poland

Country: Poland
Language: Polish
Running time: 96 minutes

Release date: 8 February 2013 (Berlin), 12 September 2013 (Poland)



Awards

Berlin International Film Festival, 2013
Reader Jury of the "Siegessäule": Małgorzata Szumowska (Winner)
Teddy – Best Feature Film: Małgorzata Szumowska (Winner)
Golden Berlin Bear: Małgorzata Szumowska (Nominee)

Camerimage Festival, 2013 (Polish Films Competition)
Golden Frog: Małgorzata Szumowska, director & Michal Englert, cinematographer (Nominee)

Chicago International Film Festival, 2013
Audience Choice Award: Małgorzata Szumowska (Nominee)

Chéries-Chéris, 2013 (International LGBT film festival, Paris)
Jury Prize: Małgorzata Szumowska (Winner)
Grand Prize: Małgorzata Szumowska (Nominee)

Ghent International Film Festival, 2013 (Belgium)
Grand Prix: Małgorzata Szumowska (Nominee)

Milan International Lesbian and Gay Film Festival, 2013
Grand Jury Award – Best Film: Malgorzata Szumowska (Winner)

Kiev Molodist International Film Festival, 2013
Sunny Rabbit Prize: Malgorzata Szumowska (Nominee) 

Polish Film Festival, 2013
Best Actor: Andrzej Chyra (Winner)
Best Director: Małgorzata Szumowska (Winner)
Silver Lion: Małgorzata Szumowska (Winner)
Golden Lion: Małgorzata Szumowska (Nominee)


Watch the trailer




Download the movie using torrent

Link


Click on 

Size: 1.34 GB (More Info)

Subtitles: English, GreekPortugueseTurkishSwedishHungarian

More subtitles 1

More subtitles 2


Toward the end of the potent In the Name of by Polish director Małgorzata Szumowska (Elles, 33 Scenes From Life), about a country priest's desperate efforts to repress the love that dare not speak its name, a glorious procession snakes through an empty meadow. All the residents of a nearby isolated provincial community participate, many holding icons in their hands or tall embroidered banners aloft, the pageantry proudly announcing the devout Catholicism that is their passion. Accompanied by what sounds like mellow English folk music, the lengthy sequence is more a holy entr’acte than a chunk of in-progress narrative.

In the middle of the throng is outspoken Father Adam (Andrzej Chyra, above), a handsome, athletic man's man approaching middle age, who bears the piece de resistance, a splendid gold sculpture with spokes radiating from the center and a cross at the peak. Among the others is long-haired townie Lukasz (Mateusz Kosciukiewicz, now the director’s husband), more physically expressive than verbal, a slightly feral lad with the beatific face of a young Christ. In more than one scene, he lies with his arms outstretched in a cruciate pose, and, in a reversal, Adam washes his bloody feet following a fight with other boys, just as Christ had done to each of the apostles the night before the crucifixion. Lukasz, aka Humpty, is himself deeply troubled, discovering in pyromania cathartic therapy.

The primary conflict in this Teddy Award-winning film is the burgeoning emotional and sexual tension between the two opposites in a milieu so nasty and bigoted that fag and Jew are right down there with cunt as slurs of choice. The plot hinges on whether or not Adam will be able to channel at least some of his adoration for Jesus into physical love for a flesh-and-blood simulacrum.

The languorous communal march is a welcome relief. Up to that point, the controlled but jerky camera of d.p. Michal Englert (Szumowska's former spouse and co-screenwriter of the film), when not coolly engaged in graceful traveling and impressive overhead shots, captures rambunctious, bullying delinquent teenaged boys who live together in a social rehab center run by the affable but domineering cleric, and who earn their keep smashing enormous rocks in the grueling summer sun; locals in this impoverished milieu either engaged in backbreaking labor or altogether disengaged; and a pair of miserable, enervated affiliates of the small, underattended church that the priest has successfully overseen since his reassignment from what most would consider a more desirable diocese in Warsaw – a move to "this shithole" that the wife, Eve (Maja Ostaszewska), of priest's assistant/second teacher Michal (Lukasz Simlat) assumes is "punishment". The saintly procession puts the brakes on much of the vulgar negative energy and sets the stage for a relatively gentle build-up to a potentially hopeful future away from all this dysfunction and a cleverly surprising resolution.

The names Adam and Eve are, of course, deliberate, and this Eve does try to tempt, actually shock, Adam into breaking his vow of celibacy. ("I'm taken", he tells her impishly, relieved to have a plausible excuse for rejecting the half-naked aggressor.) After all, Michal, who wears regret like a mask, had given up seminary for her. That's a macguffin, really. Desire for men, particularly younger ones, is Adam's, well, apple. A dalliance with an altar boy is rumored to have precipitated his transfer. Now he tries to sublimate it with endless jogging, booze, cold baths, and wild dancing to American pop in his living room. (In one amusing but slightly heavy-handed scene, he does a duet with a framed portrait of the pope.)

Keeping his urges under wraps is difficult enough, especially surrounded all day by shirtless teens, but the goading of new, shameless, and barely closeted "inmate" Adrian (Tomasz Schuchardt), who is on to him, and a blossoming bond with Lukasz – the only young fellow in town who shows any evidence of a moral compass – compel him to so overcompensate that he begins to unconsciously reveal himself. The point of no return is an irrational insistence on the removal of an old couch on which he had caught a glimpse of butch Adrian banging a skinny boy after lights out. In the words of Szumowska, "A priest who is only a human being suddenly becomes a victim of his own faith".

In a Sunday sermon, Adam confesses to the few congregants that he did not find religion until the age of 21, when he wanted "to be rid of the selfish I". As good a priest and social worker as he has proven himself to be, and as divorced from the material world as one can be in this century, he has failed to feed the increasingly demanding amorous and sexual needs of his ego. Even if In the Name of contains a host of clichés about coming out and engaging in same-sex relationships, and even if the late Antonia Bird's well-received Linus Roache-starrer Priest dealt with related dilemmas back in 1994, Adam is less in pursuit of the carnal than something dogma can not fully snuff: reciprocated unconditional love.

Source: Howard Feinstein, October 28, 2013 (filmmakermagazine.com)


Scandalous exposés about gay priests hiding beneath the starchy, ossified Catholic robes make hardly news anymore, ever since the public has started pulling out hypocrisies from the Vatican's strictly-guarded closet in recent times. Cinema, on the other hand, has been slow in the uptake, where the ongoing contradiction between faith and sexuality is seldom explored, with Antonia Bird's Priest and Alex Gibney's explosive documentary Mea Maxima Culpa: Silence in the House of God being two of the most obvious paradigms. Not to mention these two works bookended the best part of the last decade. Poland, being one of the most staunchly Catholic countries in Europe, if not the entire world, takes a stab in providing perspective on the controversial subject with In The Name Of. The film already bagged an award in the Berlinale earlier this year, and is set to annoy even more stone-cold gargoyles and rigid puritans that run the Vatican and its religious empire.

Director Malgoska Szumowska's approach is neither provoking scandal nor providing scathing religious commentary but rather attempting to psychologically examine the sexual repression of a man who happen to be a priest. In The Name Of is mostly remarkable due to its bravery in separating the (wrongly) preconceived notions between homosexuality and paedophilia in the Catholic church. The protagonist Adam (played to brimming intensity by Andrizej Chyra) is a booze-drinking, marathon-running, football-kicking small-town priest whose faith and fidelity to his religion is put to test when he's tasked to run a delinquent centre, looking after rowdy young men, who no sooner than later invoked angsty sexual yearnings from the middle-aged man. Particularly the Jesus Christ look-a-like Lukasz, the reticent, bearded young lad, who take Father Adam as a counsellor and guide. The metaphor is obviously laid out – Szumowska sets up a pietá-like scene where Father Adam wipes the bloodied Lukasz as he rests on his lap during the aftermath of a boys' brawl. Szumowska's restraint is credible, never letting her piece capsize into exploitation even when sexual tensions intensify. The film is also admirable in its non-judgemental study of a man's spiritual deterioration and subsequent sexual awakening – one standout scene sees Adam, drunken and desperately lonely, exclaims to her sister over Skype, that he isn't a paedophile but rather a "faggot". In society's eyes, however, a priest hankering over young men is labelled the other way around, or worse both.

It is a shame, then, that the director's dignified essay is somewhat weighed down by its often unnecessary aestheticism. The cinematography, while nonetheless beautiful, often dips into that afterglow romantic movie palette that feels like a betrayal of the social-realist grit of this dusty provincial Poland. That cornfield sequence where Adam and Lukasz play hide-and-seek, howling like primeval apes, is laughable rather than poignant. And whenever the film segues into melancholia, we're drip-fed by this generically mawkish string music that could've been lifted out from a royalty-free online songbook best used for Grand Emotional Scenes. Ultimately, there's the narrative – strong when it focusses on Adam and his inner existential conflict, but meandering when it introduces the romantic subplot, with Lukasz's character being the main victim. His chemistry with Adam never really gels, and slightly frustrating when the narrative never really presents him as a whole character but rather as an object to which Szumowska directs Adam's desire.

Source: Janz Anton-Iago, September 24, 2013 (themoviejerk.co.uk)












Gay priests hardly raise an eyebrow anymore in Western films, but it is rare that their sexual angst is portrayed as sensitively as in Poland's Berlin competition entry In the Name Of..., which hovers in an interesting middle ground between Gothic expressionism and psychological drama, heightened by a fine cast and outstanding performances. It should put respected young writer-director Małgorzata Szumowska's (33 Scenes From Life) career back on track after her critically unpopular Elles, which essayed a radical female take on prostitution. The new film's tolerance, propped up by a careful distinction between homosexuality and pedophilia, is unlikely to arouse much controversy among the kind of art house audiences the Memento title will attract, though it could provoke protest from traditional Catholic groups.

Father Adam (played by Szumowska regular Andrzej Chyra) is the stern-faced pastor of a small parish in the Polish boondocks. Since being transferred there, he has opened a center for difficult boys coming from a reformatory, and his success in taming their foul language and manners has been "remarkable" even in the eyes of his bishop.

He works elbow to elbow with his even sterner lay assistant Michal, and there is no question about their earning the boys' respect: they command it. The wildness of the place is described in a tense opening scene showing how small children mercilessly torment a simple-minded youth. An atmosphere of danger and violence holds the whole film in thrall, and against this backdrop Father Adam's personal drama emerges.

His first temptation comes, appropriately enough, from an attractive woman named Eve (Maja Ostaszewska), Michal's dissatisfied wife, who attempts to seduce him without success. His witty reply ("I'm already taken") seems to refer to his vow of celibacy, but gradually it becomes clear that he's attracted not to women, but to the youths around him. One in particular strikes a chord, the strange, silent Lukasz (Mateusz Kosciukiewicz, the prize-winning young actor from Matka Teresa and All That I Love) whose long hair and beard give him the look of a teenage Jesus. In an eerie primeval scene in a vast cornfield, the priest and the boy play hide-and-seek, calling to each other with ape-like howls.  Rather than give in to his sexual longings, however, Adam returns to his old vice of drinking, which culminates in the film's sole comic scene as he dances, dead drunk, to a pumped-up rock track, with a portrait of Pope Benedict XVI for a partner. Though there are not really that many ways such a tale could end, the screenplay keeps all options open until it settles on a dignified finale with a small-scale surprise.

Chyra never stumbles in his tough but engaging portrait of a sincerely devout priest with human failings, establishing a close bond with the viewer from the first scenes. The proximity of the sacred and the profane in his ministry make him at once a magnetic authority figure with a real vocation and a fragile fellow much in need of a hug.

Along with the enigmatic Kosciukiewicz, Tomasz Schuchardt's devilish "Blondie" stands out of the rowdy pack of young men testing their limits, filmed in uncomfortable close-up by a restlessly swishing camera. Cinematographer Michal Englert's out-of-doors lighting is arresting in its depiction of a forest of trees taller than any cathedral; it's not surprising Father Adam calls his morning jog "praying".

Source: Deborah Young, February 8, 2013 (hollywoodreporter.com)











































































More photos


See also


1985 (2018) – A film by Yen Tan – Cory Michael Smith, Virginia Madsen, Michael Chiklis, Jamie Chung (Download the movie)

Border (2018) – A film by Ali Abbasi – Eva Melander, Eero Milonoff, Jörgen Thorsson, Sten Ljunggren, Ann Petrén (Download the movie)


Eastern Boys (2013) – A film by Robin Campillo – Olivier Rabourdin, Kirill Emelyanov, Danil Vorobyev (Download the movie)


Die Wand / The Wall (2012) – A film by Julian Roman Pölsler – Starring Martina Gedeck (Download the movie)


Mr. Gaga: A True Story of Love and Dance (2015) – A film by Tomer Heymann – Ohad Naharin and the Batsheva Dance Company (Download the movie)


Out in the Dark (2012) – A film by Michael Mayer – Nicholas Jacob, Michael Aloni, Jamil Khoury, Alon Pdut, Loai Nofi, Khawlah Hag-Debsy, Maysa Daw, Shimon Mimran (Download the movie)


Call Me by Your Name (2017) – A film by Luca Guadagnino – Timothée Chalamet, Armie Hammer, Michael Stuhlbarg, Amira Casar, Esther Garrel, Victoire Du Bois – James Ivory, Sayombhu Mukdeeprom (Download the movie)


Seashore (Beira-Mar), 2015 – A film by Filipe Matzembacher and Marcio Reolon – Mateus Almada, Maurício Barcellos, Elisa Brittes, Fernando Hart, Ariel Artur, Francisco Gick (Download the movie)


mother! (2017) – A film by Darren Aronofsky – Jennifer Lawrence, Javier Bardem, Ed Harris, Michelle Pfeiffer (Download the movie)


Okja (2017) – A film by Bong Joon-ho – Ahn Seo-hyun, Tilda Swinton, Paul Dano, Steven Yeun, Jake Gyllenhaal, Giancarlo Esposito, Lily Collins, Shirley Henderson (Download the movie)


Im Keller / In the Basement (2014) – A film by Ulrich Seidl (Download the movie)


Maurice (1987) – A film by James Ivory – James Wilby, Hugh Grant, Rupert Graves (Download the movie)


Shostakovich Against Stalin: The War Symphonies – A Documentary by Larry Weinstein – Netherland Radio Philharmonic, Kirov Orchestra, Valery Gergiev (HD 1080p)


Florence Foster Jenkins (2016) – A film by Stephen Frears – Meryl Streep, Hugh Grant, Simon Helberg (Download the movie)


Son of Saul (2015) – A film by László Nemes – Géza Röhrig, Levente Molnár, Urs Rechn (Download the movie)


Amour (2012) – A film by Michael Haneke – Emmanuelle Riva, Jean-Louis Trintignant, Isabelle Huppert, Alexandre Tharaud (Download the movie)


Dmitri Shostakovich: Katerina Izmailova (Lady Macbeth of Mtsensk), 1966 – A film by Mikhail Shapiro – Galina Vishnevskaya, Konstantin Simeonov


The New Babylon (Novyy Vavilon), 1929 – A film by Grigori Kozintsev & Leonid Trauberg – Music by Dmitri Shostakovich (HD 1080p)


Farinelli (1994) – A film by Gérard Corbiau – Stefano Dionisi, Enrico Lo Verso, Elsa Zylberstein (Download the movie)


Eroica (The Movie, BBC 2003) by Simon Cellan Jones – Ian Hart, Leo Bill, Claire Skinner, Frank Finlay – John Eliot Gardiner (HD 1080p)


Tous les Matins du Monde / All the Mornings of the World / Όλα τα Πρωινά του Κόσμου (1991) – A film by Alain Corneau (Download the movie)


Death in Venice (1971) – A film by Luchino Visconti – Dirk Bogarde, Björn Andrésen, Silvana Mangano – Music by Gustav Mahler (Download the movie)












Thursday, April 11, 2019

Sophia Bacelar – All the posts

Photo by Dovile Sermokas
















Cuban-Chinese-American cellist Sophia Bacelar is quickly gaining recognition as one of classical music's young rising stars. Recent seasons saw her debuts as soloist at renowned venues such as The Berliner Philharmonie and The Tonhalle Zürich, a series of six concerts broadcast by Medici.tv at the auditorium of La Fondation Louis Vuitton in Paris as one of the laureates of the prestigious "Classe d'Excellence de Violoncelle" of Gautier Capuçon, and various solo performances throughout North America, South America, and Europe.

Sophia has performed at Carnegie Hall, The Berliner Philharmonie, The Tonhalle Zürich, Le Théâtre des Champs-Élysées, Victoria Hall, Cité de la Musique, and Alice Tully Hall, among others, and has appeared in several renowned festivals, including Festival Napa Valley, The Seiji Ozawa International Academy, The Mendelssohn Festival, and The Piatigorsky International Cello Festival. She has also been a laureate of several international competitions, with most recent prizes including 2nd Prize at the Berliner International Competition (2017), 2nd Prize at the Janigro International Competition (2016), and the Mondavi Center's Career Development Award (2015).


Sophia is passionate about promoting classical music to a new, younger generation of listeners, as well as bringing it to less-reached communities throughout the world. After being inspired by the positive response of audiences during her experiences performing in South America and after concerts broadcast online, Sophia decided to aim to broaden the reach of her music by introducing it in alternative venues and through contemporary mediums. Among her past and current projects include a series of live-streamed concerts in cooperation with Classeek Music, community outreach projects and concerts with children in South America, performances in nightclubs such as Le Poisson Rouge, and collaborations with musicians outside the traditionally classical sphere, including Jazz pianist/composer Dan Tepfer and various electronic musicians. In addition, she maintains an active social media presence on her Instagram account, @sophiabacelar.


Born in 1996 in the United States, Sophia began her musical studies at the age of two. At the age of ten, she was accepted to The Juilliard School, where she studied under the tutelage of Clara Kim for six years. After graduating at age 16, Sophia went on to further her studies at Le Conservatoire National Supérieur de Paris in the class of Philippe Muller, from which she graduated two years later. During the 2016-2017 season, she also worked under the mentorship of Gautier Capuçon at La Fondation Louis Vuitton as part of the "Classe d'Excellence de Violoncelle". She is currently pursuing her graduate studies at the Hochschule für Musik Hanns Eisler in the class of Nicolas Altstaedt. Other close musical mentors have included composer Kendall Durelle Briggs, pianist Noreen Polera, and Bernard Greenhouse, with whom Sophia studied privately for several years.


In addition to music, Sophia studied visual arts for several years, is an avid reader, and is enthusiastic about food, health, and fitness; when not occupied with her musical activities, she devotes the majority of her spare time to these interests.


Source: sophiabacelar.com



Photo by Dovile Sermokas
















More photos


Sophia Bacelar – All the posts


Frank Bridge: Cello Sonata in D minor – Sophia Bacelar, Daniela Hlinková (HD 4K)

Claude Debussy: Sonata for cello and piano in D minor – Sophia Bacelar, Daniela Hlinková (HD 4K)

Camille Saint-Saëns: Cello Concerto No.1 in A minor (arr. for cello and string orchestra by Olga Pak) – Sophia Bacelar, Berliner Camerata (HD 4K)

Sergei Rachmaninov: Vocalise – Sophia Bacelar, Daniela Hlinková (HD 4K)

Sunday, April 07, 2019

Frank Bridge: Cello Sonata in D minor – Sophia Bacelar, Daniela Hlinková (HD 4K)











Cuban-Chinese-American cellist Sophia Bacelar and the extraordinary and sensitive Slovak classical pianist Daniela Hlinková perform Frank Bridge's Cello Sonata in D minor, H.125. Recorded live at the Berliner Philharmonie, on January 22, 2017.



The Sonata in D minor for Cello and Piano, dated 1913-1917, is a two-movement work in which the second movement displays Bridge's great despair over the futility of war and the general state of the world. Marked by his usual technical fastidiousness and unerring taste, the Cello Sonata indicates that Bridge was beginning to open himself to a wider range of stylistic references. (Some writers see reflections of Rachmaninov in the first movement, and of Bax in the opening of the second.)

The opening movement, begun in 1913, starts with a soaring cello line and continues with rolling periods of lyrical flights and accompaniment which adds richness and tension to the music's progress. The contrasting second movement, first conceived as a slow movement followed by an independent finale, was compressed into an arch-shaped structure, incorporating a thematically derived scherzetto with the addition of an extended coda which refers to the work's opening.

The entire sonata, with the chromaticism of the slow section and the aggressive tonal and bi-tonal colors in the scherzo, hints at his later style. At the American premiere in 1923 the audience (including Artur Rubinstein and Hans Kindler) was captivated by the lyrical beauty of the work, a favorite of its composer which has remained the most widely performed of his duet pieces.

Source: Jane Erb (classical.net)



Frank Bridge (1879-1941)

♪ Cello Sonata in D minor, H.125 (1913-1917)

i. Allegro ben moderato [0:32]*
ii. Adagio ma non troppo – Molto allegro agitato [10:40]

Sophia Bacelar, cello
Daniela Hlinková, piano

Berliner Philharmonie, January 22, 2017

(HD 4K / 2160p)

* Start time of each movement












Cuban-Chinese-American cellist Sophia Bacelar is quickly gaining recognition as one of classical music's young rising stars. Recent seasons saw her debuts as soloist at renowned venues such as The Berliner Philharmonie and The Tonhalle Zürich, a series of six concerts broadcast by Medici.tv at the auditorium of La Fondation Louis Vuitton in Paris as one of the laureates of the prestigious "Classe d'Excellence de Violoncelle" of Gautier Capuçon, and various solo performances throughout North America, South America, and Europe.

Sophia has performed at Carnegie Hall, The Berliner Philharmonie, The Tonhalle Zürich, Le Théâtre des Champs-Élysées, Victoria Hall, Cité de la Musique, and Alice Tully Hall, among others, and has appeared in several renowned festivals, including Festival Napa Valley, The Seiji Ozawa International Academy, The Mendelssohn Festival, and The Piatigorsky International Cello Festival. She has also been a laureate of several international competitions, with most recent prizes including 2nd Prize at the Berliner International Competition (2017), 2nd Prize at the Janigro International Competition (2016), and the Mondavi Center's Career Development Award (2015).


Sophia is passionate about promoting classical music to a new, younger generation of listeners, as well as bringing it to less-reached communities throughout the world. After being inspired by the positive response of audiences during her experiences performing in South America and after concerts broadcast online, Sophia decided to aim to broaden the reach of her music by introducing it in alternative venues and through contemporary mediums. Among her past and current projects include a series of live-streamed concerts in cooperation with Classeek Music, community outreach projects and concerts with children in South America, performances in nightclubs such as Le Poisson Rouge, and collaborations with musicians outside the traditionally classical sphere, including Jazz pianist/composer Dan Tepfer and various electronic musicians. In addition, she maintains an active social media presence on her Instagram account, @sophiabacelar.


Born in 1996 in the United States, Sophia began her musical studies at the age of two. At the age of ten, she was accepted to The Juilliard School, where she studied under the tutelage of Clara Kim for six years. After graduating at age 16, Sophia went on to further her studies at Le Conservatoire National Supérieur de Paris in the class of Philippe Muller, from which she graduated two years later. During the 2016-2017 season, she also worked under the mentorship of Gautier Capuçon at La Fondation Louis Vuitton as part of the "Classe d'Excellence de Violoncelle". She is currently pursuing her graduate studies at the Hochschule für Musik Hanns Eisler in the class of Nicolas Altstaedt. Other close musical mentors have included composer Kendall Durelle Briggs, pianist Noreen Polera, and Bernard Greenhouse, with whom Sophia studied privately for several years.


In addition to music, Sophia studied visual arts for several years, is an avid reader, and is enthusiastic about food, health, and fitness; when not occupied with her musical activities, she devotes the majority of her spare time to these interests.


Source: sophiabacelar.com









































More photos


See also

Claude Debussy: Sonata for cello and piano in D minor – Sophia Bacelar, Daniela Hlinková (HD 4K)

Camille Saint-Saëns: Cello Concerto No.1 in A minor (arr. for cello and string orchestra by Olga Pak) – Sophia Bacelar, Berliner Camerata (HD 4K)

Sergei Rachmaninov: Vocalise – Sophia Bacelar, Daniela Hlinková (HD 4K)

Thursday, April 04, 2019

Claude Debussy: Sonata for cello and piano in D minor – Sophia Bacelar, Daniela Hlinková (HD 4K)











Cuban-Chinese-American cellist Sophia Bacelar and the extraordinary and sensitive Slovak classical pianist Daniela Hlinková perform Claude Debussy's Sonata for cello and piano in D minor. Recorded live at the Berliner Philharmonie, on January 22, 2017.



Although they represent only half of a projected series of works, Debussy's three chamber sonatas bear testimony to the composer's developing identification with a more abstract – that is, less visually, textually, or otherwise extramusically oriented – musical process. The first of these works, the Sonata No.1 for cello and piano (1915), is cast in three movements, the last two of which are played without break. The Prologue opens with a noble keyboard statement in D minor, well defined harmonically (an unusual feature in Debussy's music) and tinged with modal color, to which the cello provides a highly ornamental response. The entire movement is but 51 measures in length, yet encompasses a wealth of expression. Throughout, musical phrases are allowed to develop and collapse with no clear boundaries; as with much of the composer's later music, the distinction between melody and ornamentation is deliberately obscured.

The absolute saturation of the ensuing Sérénade (marked Modérément animé) with the percussive tones of the cellist's pizzicati came as a great shock to Parisian audiences of Debussy's own time. The few arco passages that invade the texture quickly dissolve away, save for an outburst of triplet rhythms midway through the movement. The bass staccati in the piano serve to make the occasional melodic, legato inserts all the more powerful.

The finale, marked Animé, follows without pause. At 123 bars, it is of greater length than the two previous movements together. Although in performance its quicker tempo compensates for its proportions to some degree, a great deal of the Sonata's musical weight is invested in this energetic movement. Debussy calls for the cello to play with a "light and nervous" character, while he includes no fewer than 17 tempo indications that emphasize the psychological tension. The music builds to several climaxes, only to have the bottom drop out each time in one of Debussy's favorite musical strategies. The cello makes a final passionate, unaccompanied melodic plea, as at the beginning of the entire work, before the Sonata concludes in a flurry of great percussive strength.

Source: Blair Johnston (allmusic.com)



Claude Debussy (1862-1918)

♪ Sonata for cello and piano in D minor, L.144 (July-August 1915)

i. Prologue. Lent. Sostenuto e molto risoluto [0:34]*
ii. Sérénade. Modérément animé. Fantasque et léger [4:51]
iii. Finale. Animé. Léger et nerveux [8:00]

Sophia Bacelar, cello
Daniela Hlinková, piano

Berliner Philharmonie, January 22, 2017

(HD 4K / 2160p)

* Start time of each movement












Cuban-Chinese-American cellist Sophia Bacelar is quickly gaining recognition as one of classical music's young rising stars. Recent seasons saw her debuts as soloist at renowned venues such as The Berliner Philharmonie and The Tonhalle Zürich, a series of six concerts broadcast by Medici.tv at the auditorium of La Fondation Louis Vuitton in Paris as one of the laureates of the prestigious "Classe d'Excellence de Violoncelle" of Gautier Capuçon, and various solo performances throughout North America, South America, and Europe.

Sophia has performed at Carnegie Hall, The Berliner Philharmonie, The Tonhalle Zürich, Le Théâtre des Champs-Élysées, Victoria Hall, Cité de la Musique, and Alice Tully Hall, among others, and has appeared in several renowned festivals, including Festival Napa Valley, The Seiji Ozawa International Academy, The Mendelssohn Festival, and The Piatigorsky International Cello Festival. She has also been a laureate of several international competitions, with most recent prizes including 2nd Prize at the Berliner International Competition (2017), 2nd Prize at the Janigro International Competition (2016), and the Mondavi Center's Career Development Award (2015).

Sophia is passionate about promoting classical music to a new, younger generation of listeners, as well as bringing it to less-reached communities throughout the world. After being inspired by the positive response of audiences during her experiences performing in South America and after concerts broadcast online, Sophia decided to aim to broaden the reach of her music by introducing it in alternative venues and through contemporary mediums. Among her past and current projects include a series of live-streamed concerts in cooperation with Classeek Music, community outreach projects and concerts with children in South America, performances in nightclubs such as Le Poisson Rouge, and collaborations with musicians outside the traditionally classical sphere, including Jazz pianist/composer Dan Tepfer and various electronic musicians. In addition, she maintains an active social media presence on her Instagram account, @sophiabacelar.

Born in 1996 in the United States, Sophia began her musical studies at the age of two. At the age of ten, she was accepted to The Juilliard School, where she studied under the tutelage of Clara Kim for six years. After graduating at age 16, Sophia went on to further her studies at Le Conservatoire National Supérieur de Paris in the class of Philippe Muller, from which she graduated two years later. During the 2016-2017 season, she also worked under the mentorship of Gautier Capuçon at La Fondation Louis Vuitton as part of the "Classe d'Excellence de Violoncelle". She is currently pursuing her graduate studies at the Hochschule für Musik Hanns Eisler in the class of Nicolas Altstaedt. Other close musical mentors have included composer Kendall Durelle Briggs, pianist Noreen Polera, and Bernard Greenhouse, with whom Sophia studied privately for several years.

In addition to music, Sophia studied visual arts for several years, is an avid reader, and is enthusiastic about food, health, and fitness; when not occupied with her musical activities, she devotes the majority of her spare time to these interests.

Source: sophiabacelar.com







































More photos


See also

Frank Bridge: Cello Sonata in D minor – Sophia Bacelar, Daniela Hlinková (HD 4K)

Camille Saint-Saëns: Cello Concerto No.1 in A minor (arr. for cello and string orchestra by Olga Pak) – Sophia Bacelar, Berliner Camerata (HD 4K)

Sergei Rachmaninov: Vocalise – Sophia Bacelar, Daniela Hlinková (HD 4K)

100th anniversary of the death of Claude Debussy – All the posts