El Carné Joven Europeo facilita entradas a 7 euros para una treintena de espectáculos del Palacio de Festivales
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The Sicilian Opera Choir of Italy, winner of the International Opera Awards in 2017, is a reality that has established itself in the music, theatre, opera, and symphonic scene over the past few years.
The particular care of vocality and taste as well as the versatility of the organic components, allow the choir to face both the refined and demanding symphonic and sacred repertoire along with the robust traditional lyric collection.
Made up of choir artists from all over Sicily, the Sicilian Opera Choir performs concerts, shows, and operas with excellent public and critical success and is regularly enrolled in theatres at the national and international level. The intense concert activity is combined with culture making it a powerful work of research, enhancement, and export of Sicilian art which has been undertaken within the country and beyond as well as rediscovery of the most important Sicilian authors with the execution of lesser-known works and unpublished works by P. Mandanici
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Woody Allen s latest film, To Rome With Love, generates no particular excitement or surprise, but it provides the sort of pleasure he seems able to generate almost on demand. The New Yorker who claims to be uneasy after a night away from home here sets his fourth recent film in a European capital, treating Rome like a besotted tourist. He tells four stories that are intercut but not interlocking, and three of them are funny and charming.
Much of their appeal comes from the casting, made possible by Allen s apparent ability to persuade any actor to come and work with him for a week or two. Using a star saves a director from writing 10 pages of screenplay, I ve heard, because we think we already know a lot about the character. That helps in the way Allen skips lightly among his stories, which have the depth of sitcoms.
From broken legs to flaming wigs: a brief history of theatrical disasters
Five years ago a tenor was nearly killed on-stage by a falling prop. But it wasn t the first time a performer has suffered for his art
2 February 2021 • 6:00am
Before the fall: Robert Dean Smith as Tristan in rehearsals in 2012
Credit: alliance archive / Alamy Stock Photo
How much of yourself should you leave on stage? Back in 2015, the American tenor Robert Dean Smith, came perilously close to finding out. Smith was performing in Wagner’s Tristan and Isolde at Toulouse’s venerable Théâtre du Capitole when he was nearly crushed by a huge 212kg black rock that was meant to only symbolise his tombstone. As the rock descended to a mere 11cm away from his face (it was meant to stop at 60), it very nearly became it. We knew Wagner could be heavy, but this was taking things a bit too far.
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