Freitag, 31. Oktober 2014

The 10 most haunted concert halls

Haunted Houses? Everyone knows of one. So here's our rundown of the 10 most haunted concert halls and opera houses in the world - discover their ghosts, their ghouls and their haunted organs here!
Bristol Old Vic
In 2010, the Old Vic's architect claimed to have seen the ghost of the theatre's former manager, Sarah Macready. She smelled of lavender perfume and smiled at him while he was climbing the back staircase at lunchtime.


Bristol Opera House, Indiana
Legend has it that the Bristol Opera House in Bristol, Indiana, has three regular ghostly visitors. One is 'Beth', a child who has been known to peer out from behind the curtain during performances, another is 'Helen', whose presence has been felt without her ever having been seen - but the most active is supposedly 'Pervical', a former handyman who plays with the opera house's electrics.


St James' Theatre, Wellington
After a terrifying fall from above the stage that ended his life, a Russian singer known only as Yuri still stalks the St James Theatre in Wellington, New Zealand. He's been known to monkey with the stage lights after the shows have finished and, on one occasion, saved a projectionist's life by pushing him out of the way of a falling beam.


Royal Opera House, London
Did you know a poltergeist stalks the Royal Opera House? According to reports from construction workers working on the building back in 1999, stray bits of brick and metal would occasionally be flung at people in the auditorium during the day - and security was so tight that it couldn't have been just anyone…


Glyndebourne Opera House
Tragic and spooky goings-on at Glyndebourne - apparently after a young girl fell down a well in the leafy grounds of the opera house and drowned many years ago, she has since been known to stalk the grounds of the opera house…


Cincinnati Music Hall
Take a look at this quote from Erich Kunzel, late conductor of the Cincinnati Pops Orchestra: "Sometimes when I was arranging, getting things together, I've worked here all night long. So I've met these people. They're not in the offices, but when you go out into the house they're there, they're upstairs... If you think I'm crazy just come here sometime at three o'clock in the morning. They're very friendly."


Springer Opera House, Georgia
Rumoured to be one of America's most haunted theatres, the Springer Opera House is the home to the ghost of actor Edwin Booth - famous as the brother of John Wilkes Booth, who killed Abraham Lincoln in 1865. Edwin is apparently quite active and is fond of messing around with props and wardrobe.


Royal Albert Hall, London
If you've seen the Royal Albert Hall's huge pipe organ, then you'll know that it's pretty impressive. What you might not know is that the organ's designer, Henry Willis, still wanders the corridors of the great hall, despite dying in 1901.


Paris Opera House
Perhaps the most famous classical music ghost of them all is, disappointingly, fictional. The Phantom Of The Opera, star of Gaston Leroux's novel of the same name, is, however, based on real reports of a corpse that was found in the cellars of the opera house, which Leroux adapted to become one of the most famous ghost stories of all time.


Belfast Grand Opera House
Staff at the Belfast Grand Opera House have reported seeing faces looking in at them from top-floor windows - thought by the Northern Ireland Paranormal Research Association (you know them…) to be members of the stage crew from the 1980s.


Freitag, 24. Oktober 2014

  ExpoClásica announces its second edition


expoclasica

ExpoClásica, professional meeting of classical music sector whose first edition took place with great success in Madrid late last year, has just announced its second edition to be held on 11 and 14 December in Conde Duque, Madrid. The event will include among its participants some of the most important national and international agencies and promoters. Until its creation in 2013 has never before been held in Spain a trade show dedicated to comprehensively 'art music'.

The new edition has an added value, which will host the First National Forum of programmers classical music, responding to the need to establish a meeting point for those responsible for the musical programs of our country, both public and private entities . It challenges facing this sector will arise, new connections within the same should be developed and ideas and partnerships that will generate boost.

In addition to the two days of professional field, the fair weekend will open with a series of concerts in which the public may participate.


The first edition of ExpoClásica, whose theme was "The internationalization and promotion of Spanish classical music" was held from 22 to 24 November 2013 with a positive balance: 450 accredited professionals, 24 exhibitors (INAEM, Arsis, AEEMS , AEJO, AEOS, AMCC, AMM, Twelve Notes, FestClásica, Music Maestro Foundation, Foundation SGAE, GLAE, GEMA, Thalia Group Concertante, Hippocampus, MITO Concerts, Music Apropos, Musiépoca, Musiespaña, Neopercusión, Odradek Records, Ritmo, Scherzo and Verso), more than 30 companies involved (record companies, multinationals, distributors, music stores, developers ...), 13 participating associations, 6 foundations, 14 international guests from 6 different countries (UK, France, Mexico, China, Germany and Italy), 33 speakers participants (journalists, musicologists, actors, composers, ...), 11 round tables, 8 showcases news coverage and consists of more than 30 media. The numbers leave no doubt of the success of this pioneering initiative in Spain exhibition, and which led to this second edition.

  ExpoClásica anuncia su segunda edición


expoclasica
ExpoClásica, el encuentro profesional del sector de la música clásica cuya primera edición tuvo lugar con gran éxito en Madrid a finales del año pasado, acaba de anunciar su segunda edición que tendrá lugar entre los días 11 y 14 de diciembre en Conde Duque, Madrid.  La cita contará entre sus participantes algunas de las más importantes agencias y promotores nacionales e internacionales. Hasta su creación en el año 2013 nunca antes se había celebrado en España una feria profesional consagrada de forma global a la ‘música culta’.
La nueva convocatoria cuenta con un valor añadido, ya que acogerá el I Foro nacional de programadores de música clásica, respondiendo así a la necesidad de establecer un punto de encuentro para los responsables de las programaciones musicales de nuestro país, tanto de entidades públicas como privadas. En él se plantearán los retos que atraviesa este sector, se establecerán nuevas conexiones dentro del mismo y se generarán ideas y alianzas que lo impulsen.
Además de las dos jornadas de ámbito profesional, la feria se abrirá el fin de semana con un ciclo de conciertos en el que podrá participar público general.
La primera edición de ExpoClásica, cuyo lema fue “La internacionalización y la promoción de la música clásica española”, se celebró del 22 al 24 de noviembre de 2013 con un balance muy positivo: 450 profesionales acreditados, 24 expositores (INAEM, Arsis, AEEMS, AEJO, AEOS, AMCC, AMM, Doce Notas, FestClásica, Fundación Música Maestro, Fundación SGAE, GLAE, GEMA, Grupo Concertante Talía, Hippocampus, MITO Concerts, Música Apropos, Musiépoca, Musiespaña, Neopercusión, Odradek Records, Ritmo, Scherzo y Verso), más de 30 empresas involucradas (discográficas, multinacionales, distribuidoras, tiendas de música, promotoras…), 13 asociaciones participantes, 6 fundaciones, 14 invitados internacionales procedentes de 6 países diferentes (Reino Unido, Francia, México, China, Alemania e Italia), 33 ponentes participantes (periodistas, musicólogos, agentes, compositores,…), 11 mesas redondas, 8 showcases y una cobertura informativa constituida por más de 30 medios de prensa. Números que no dejan lugar a dudas del éxito de esta iniciativa ferial pionera en España, y que han propiciado esta segunda edición.

Montag, 6. Oktober 2014

                      PREMIO Antón García Abril

                                      1° Edición


 

 

 



Firenze: the theater looking for a music director

Teatro del Maggio Musicale Fiorentino

Bianchi "ridimensiona" Mehta

Firenze: il teatro cerca un direttore musicale

In un intervista all'edizione fiorentina del "Corriere della Sera", il sovrintendente del Teatro del Maggio Musicale Fiorentino, Francesco Bianchi, ha annunciato il ridimensionamento del ruolo di Zubin Mehta nel futuro della fondazione, perché «un progetto artistico di rilancio del Maggio non potrà avere lui come unico protagonista». Piu' che di un direttore principale, il teatro, afferma Bianchi, è ora in cerca di un vero e proprio direttore musicale capace di condividere il progetto artistico con il sovrintendente e di garantire una presenza più continuata. Resta comunque fissata la presenza del direttore indiano, sembra di capire, per i prossimi impegni già concordati, come il Fidelio del prossimo festival del Maggio in cui ci sarà anche un Pelléas et Mélisande affidato a Daniele Gatti e un Giro di vite. L'effetto valanga dopo quanto successo all'Opera di Roma è ovviamente un timore universalmente diffuso, ma a Firenze il "fondo salvataggio" del decreto Valore Cultura di Bray è in arrivo - il piano industriale è stato presentato per tempo - anche se servirà sostanzialmente a saldare i debiti pregressi. Di buono c'è, dichiara Bianchi, che qui i sindacati hanno patteggiato in tempo utile un accordo che dovrebbe ridurre i costi del lavoro e aumentare la produttività del teatro. Da segnalare anche la recente nomina a coordinatore artistico di Pierangelo Conte, proveniente dalla Fenice di Venezia, all'ideazione delle cui ultime stagioni ha collaborato.
e.t.

Samstag, 4. Oktober 2014

Old woman playing piano on the street

¿Qué pasa cuando tocamos un instrumento?


 The brains of musicians are different from others


 The scientists studied the brain function when listening to music and were amazed at the amount of brain areas that were stimulated.

But when they studied the brains of those who dedicate themselves to interpret and play an instrument they realized the amazingly quick amount of information processing that perform complex sequences.

Although research is relatively new neuroscientists discovered that playing an instrument involves almost all areas of the brain at once.



El cerebro de los músicos es diferente a los demás




Pero cuando estudiaron el cerebro de aquellos que se dedican a interpretar y tocar algún instrumento se dieron cuenta la cantidad asombrosamente rápida de procesamiento de información en secuencias complejas que realizan.
Aunque la investigación es relativamente nueva los neurocientíficos descubrieron  que tocar un instrumento involucra casi todas las áreas del cerebro a la vez .

Donnerstag, 2. Oktober 2014

Felicidades a todos los Odontólogos en su día!








Musical Instruments

Packing instructions:

  • When a stringed instrument is transported by air, it may be exposed to dramatic changes in temperature and pressure, which can cause the instrument’s headstocks to crack or snap off. To prevent possible damage, it is the customer’s responsibility to ensure that the strings are loosened so that the tension is reduced.
  • Musical instruments must always be properly packaged in a rigid and/or hard shell container specifically designed for shipping such items.
  • Air Canada will not be liable if and to the extent that any damage results from the inherent defect, quality or vice of the baggage.

Musical instruments as carry-on baggage:

  • Guitars and other irregular sized musical instruments may be accepted as part of your carry-on baggage allowance provided:
    • there is space available in the cabin at time of boarding
    • they fit easily in the overhead bin or under the seat in front of you,
  • Due to passenger loads, aircraft limitations and/or storage space available, we cannot guarantee that a musical instrument can be accommodated on board.  It may need to be checked at the gate and transported as checked baggage.
    • For this reason, musical instruments must always be properly packaged in a rigid and/or hard shell container specifically designed for shipping such items.  Please refer to the ‘Packing instructions’ section above.
    • Musical instruments checked at the gate must also be retrieved at the gate upon arrival at your destination.

Musical instruments as checked baggage:

  • If checked in separately, a musical instrument counts as one piece of baggage towards the maximum number of checked bags allowed by your fare type.
  • If your baggage count (musical instrument + number of other bags to be checked) exceeds the maximum number of items allowed by your fare type, additional checked baggage charges will apply.
  • Please refer to the ‘Packing instructions’ section above for the preparation of your musical instrument.
  • For oversized instruments measuring more than 115in/292cm (e.g. guitars, tubas, double basses), please contact your Air Canada Cargo local sales office for handling.
    • Exception: Air Canada Cargo cannot handle shipments from or via the US as passengers are considered as unknown shippers for cargo purposes. Please contact another shipping company for this service.
In some cases, a seat may also be purchased for these instruments. Contact Air Canada Reservations for more information.

Types of musical instruments

  • Unless specified in the table below, all musical instruments (including those not listed) may be accepted provided they do not exceed the weight and size restrictions that apply to carry-on or checked baggage.
  • Please refer to the ‘Packing instructions’ section above for the preparation of your musical instrument.
  • All of the rules and restrictions outlined above with regard to carry-on and checked baggage will apply.