Saga Frontier ntsc-j

"A Maurilia, the traveler is invited to visit the city and at the same time watching some old postcards that represent it as it was before: the exact same square with a hen instead of the bus station ... "Invisible Cities Calvino writing said the dream that comes from the heart of the city uninhabitable. It undoubtedly belongs to this category Milan at Christmas, although it has something in common with Maurilia the more intangible: a nostalgic look stubbornly avoids the ugliness that had accumulated during the years of economic boom and construction and takes refuge in the sweet memorials of past ages. These included a beautiful exhibition at the Triennale to celebrate the centenary of AEM , on display until January 6 with free admission . Is traced through multimedia installations and archival photographs, the history of the company since 1910 provides illumination of our city. There is carried away by the atmosphere memoirs, including the discovery of other places known faces and some two decades of dictatorial excess luminescence. And yet the story dell’AEM ripercorre quella crescita economica che ha portato Milano ad avere l’aspetto e le forme che ben conosciamo oggi. E una volta usciti veniamo assaliti dai fanti del cattivo gusto e dai cavalleggeri della speculazione economica: preservare l’immagine di una Milano a volte eccessiva ma sempre bella è una battaglia persa. Tra Porta Venezia strangolata da lumini rosa, Piazza Fontana ridotta a una imitazione di se stessa che potrebbe andar bene a Las Vegas o in una hall di albergo kitsch, Piazza XXIV Maggio ormai location della pubblicità della Gazzetta e cuori assassini in Galleria che attentano alle anziane signore, sembra proprio che l’unica salvezza sia guardare quelle cartoline di altri tempi e sognare. Ma a Milano, come a Maurilia, " the gods who live beneath names and above places have gone without a word and have settled in their place foreign gods." E 'useless sigh rasseganti in front of a photo of Brera thirty years ago, because next you can see a giant word "Dux" projecting light on Piazza Duomo, in the history has been erased with the ugliness and the will to fight change, without which we will have to endure much longer the lights rose, some more innocuous (even if the hearts seem to have more aggressive) of the regime's propaganda, but an insurmountable obstacle for those who want to look at the beauty of their city and the streets in reality, and not just in a room of the museum.

Irene Nava

Piazza Fontana

Piazza Duomo Galleria Vittorio Emanuele

The Rinascente

Porta Romana

Led "Be an Angel" - Piazza San Fedele

Brera

Piazza della Scala

Via Manzoni

Cordusio
Old Church of Baggio, street Forces Armed street corner Ceriani

Via Dante

Castello Sforzesco

Cairoli

Cadorna (light installation removed after controversy over the possibility of decorating works of art)

Navigli

Photo: Francesca Di Vaio, Valentina Meschia, Roberto Colombi, Judith Grechi

Pjs And Pigtailsstuart

Scala Nureyev's Swan Lake

not need more words to explain The Swan Lake, Tchaikovsky's works of art that, in the version of Nureyev, December 16 inaugurated the 2010/2011 season ballet of the Teatro alla scale, after ten years of absence from the stage Milanese. It is the curse of an impossible love, the one between Prince Siegfried, melancholy hero of the ballet, and Odette, the princess transformed into a swan by the evil magician Rothbart. Yet, is not only the drama of a love inconsolable and devoid of any hope to make the Lake ballet par excellence, along with other masterpieces of the repertoire such as Giselle and La Sylphide. C’è di più, ovverosia la straordinaria immagine, indelebile nella memoria di ogni spettatore, della splendida e aristocratica donna-cigno in tutù bianco, la quale, fragile e struggente, si aggrappa e nel contempo si abbandona all'amore del suo principe, nella speranza che il giuramento di quest’ultimo possa donarle la salvezza dalla crudele maledizione di cui è vittima. Vana illusione: soggiogato dal cigno nero Odile, oscura creatura plasmata da Rothbart e incredibilmente somigliante a Odette, Siegfried crede di scorgervi il suo amato cigno bianco e, reso cieco dall’amore, chiede in sposa proprio Odile. Il trionfo di Rothbart si compie: Siegfried spergiura e Odette non potrà essere salvata. L’incanto fiabesco Lake, summa geometry Orchestia, robbed and persuasive as his music, is concentrated right here, that in the topic, so wonderfully seductive, love of a mortal for a supernatural creature, for being "different", suspended in a 'incessant and constantly incomplete metamorphosis, Tersicorea true essence of the swan.
As we said on stage at La Scala is not the original choreography of Marius Petipa and Lev Ivanov, represented in 1895 at the Mariinsky in St. Petersburg, but that of Nureyev, who retreader great choreographer-he was, in 1964, with responsibility the Vienna State Opera, was profuse in a total reinterpretation of the lake, coming two decades later than the final version for the Paris Opera, then acquired in the season 1989/1990, the Scala and today in the repertoire of his company.
Now, in addition to celebrating, along with Nureyev, the genius of Petipa the centenary of his death (1910), Lake La Scala 2010/2011 be noted above all for the unusual reliance of the direction of the orchestra to the baton of Daniel Barenboim, in while engaged with the inaugural opera Die Walküre by Wagner, and then to the sparkling presence on stage, dancers such as the protagonists of the first cast, the two young stars of the Kirov-Mariinsky of St Petersburg: the twenty-eight L. Sarafanov, who played the Prince Siegfried, e la venticinquenne étoile A. Somova, la quale si sdoppia nel ruolo di Odette/Odile. Sarafanov, nuovo Barišnikov e già acclamatissimo alla Scala, dimostra di ben conoscere e dominare con disinvoltura, scrupolosità e raffinatezza lo stile di Nureyev, il quale, proprio per il ruolo del Principe, aggiunse variazioni tecnicamente e interpretativamente al sommo della difficoltà, ampliandone la profondità introspettiva, la tensione drammatica e il contenuto espressivo. Somova, ora languida e struggente Odette, ora perfida e maliarda Odile, se non spodesta nella memoria la grazia, l’accurata eleganza e la stupefacente intensità dell’indimenticabile Margot Fonteyn, seduce con il sinuoso movimento delle sue braccia sottili. With the quality of its technical and expressive movement and with its clean lines, all of St. Petersburg school, convincing, raising loose with his inner natural shape, without falling into the blind virtuoso display. Simulating a mimicry dynamics, color and psychological Somova passes with ease from the elegiac record of abandonment, of yearning, nostalgia and hope of Odette, the spell erotic choreography and character of the evil, sensual, nervous and aggressive Odile. Become the two-faced role of the tutor Wolfgang and the magician Rothbart, a symbol of evil and oppressive authoritarianism that destroys the ideal of love beyond life and the dream of the absolute Siegfried, new romantic hero, the first dancer La Scala A. Sutera, who is confronted with remarkable success, with the part that Nureyev, in his mature years, cut out for himself and about himself.
short, the perfect version of Nureyev's choreography combines a distressing psychoanalytic symbolism, suffused with a distinctly romantic conception, the genius inherent in his Lake houses express a new beauty, no longer the nineteenth century, but already decadent, pre- Impressionist "although still not break the Academy, it is a ballet on the disturbance of the interior, the floating split that pervades existence.

Paul Marinoni Fabio Perelli

Jenna Jameson As Masaage

Demonstration against the Gelmini DDL - December 22, 2010

Today is the day of discussion of the Reformation of the University of the Berlusconi Government in the Senate, whose approval is now taken for granted by many.

And throughout Italy marches and demonstrations by students and researchers are renewing their decided not in respect of the bill Gelmini. Even today, Vulcan has followed a protest in Milan.

Street Feast of Forgiveness. At 9.00 there is a collective defense organized by City University and inter-groups. Press and police there. At about 10:30 the protesters moving within the university, improvising a meeting to decide what to do.

The chamber 201 is filled quickly. Among students of the State of Bicocca, the Group of Bovisa and some research, there are nearly three hundred people. Is advanced some proposals on the form that in the event. It was decided at the end for a single procession, between Porta Venezia and Padova destinations Avenue, the route will depend on the consultation with the police. few moments of tension when the procession was immediately closed in St. Catherine, while trying to reach Corso di Porta Romana. After the moment of confrontation with the police, the event proceeds in fits and starts in Via Francesco Sforza, behind the seat of the State, to the intersection of Via Umberto and Via Mascagni. From there you will agree with the police to Padua Avenue. Cordons and police cars and a large group of journalists and photographers, before and after a few steps up the rear.

drums, whistles and chants underlying the protest from windows and balconies overlooking the coriosi. Does anyone indifferent, someone claps and encourages students, who respond by inviting them to come down and attend the event.

Crossing the square and passing through Viale Romagna Susa, the parade proceed along Viale Lombardia, slowing traffic. Some motorists protest, others sound the horn, spurred on by the students themselves, as a sign of solitadietà. From megaphones come

updates from the Senate: the extension of the first few hours of the vote, then the news of the definitive reference in the future.

are questions to 14.30, and in time to reach secondary school students who are gathering in Day of Pardon, the parade is shortened ritch: Via Giacosa Crespi in turn, and back to the meter Duomo by Pasteur. In addition, immigrants facing balconies and out into the street, attracted by the choirs of the community of students, "Against the Gemini and the Bossi-Fini we are all immigrants."

front of the State, collectives and high school students decide to meet again to riorganizzre the protest in the afternoon.

Photo: Judith Grechi

Creative Extigy Driver Vista

The march for "Piazza Fontana"

Yesterday, December 11, was held the annual anti-fascist march to commemorate the massacre of Piazza Fontana and the death of the anarchist Pinelli, falsely accused of the same, whose death is still, after 41 years, left unpunished by the state secret and hidden. The demonstrators started from Porta Venezia and marched in procession to Piazza Fontana, they recall the victims and suggested that the historical truth will finally be the light.

Irene Nava