“Rabbia E Tarantella”


One of the more familiar tunes is the opening theme, taken from the folk ballad “The Green Leaves of Summer”, composed by Dimitri Tiomkin and Paul Francis Webster for the opening of John Wayne’s movie “The Alamo” (1960). As is usual for a Quentin Tarantino film, the music used in the film is eclectic, but mostly consisting of music in the spaghetti-western genre[72]. The soundtrack was released on August 18, 2009.

Tarantino originally wanted Ennio Morricone to compose the soundtrack for the film. Morricone refused, because of the sped-up production schedule of the film.[73] However, Tarantino did use several tracks by Morricone from previous films in the soundtrack.

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Bwv140 – Kantat – 01 – Koral – Wachet auf, ruft uns die Stimme – Bach

Johann Sebastian Bach (German pronunciation: [joˈhan] or [ˈjoːhan seˈbastjan ˈbax]) (31 March 1685 [O.S. 21 March] – 28 July 1750) was a German composer and organist whose sacred and secular works for choir, orchestra, and solo instruments drew together the strands of the Baroque period and brought it to its ultimate maturity.[1] Although he introduced no new forms, he enriched the prevailing German style with a robust contrapuntal technique, an unrivalled control of harmonic and motivic organisation in composition for diverse instrumentation, and the adaptation of rhythms and textures from abroad, particularly Italy and France.

Revered for their intellectual depth, technical command and artistic beauty, Bach’s works include the Brandenburg concertos, the Goldberg Variations, the Partitas, the Well-Tempered Clavier, the Mass in B Minor, the St. Matthew Passion, the St. John Passion, the Magnificat, The Musical Offering, The Art of Fugue, the English Suites, the French Suites, the Sonatas and Partitas for violin solo, the Cello Suites, more than 200 surviving cantatas, and a similar number of organ works, including the celebrated Toccata and Fugue in D Minor.

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Women in Art…

500 Years of Female Portraits in Western Art…


Western art is the art of European Countries, and those parts of the world that have come to follow predominantly European cultural traditions such as the Americas.

Written histories of Western art often begin with the art of the Ancient Middle East, Ancient Egypt and the Ancient Aegean civilisations, dating from the 3rd millennium BC. Parallel with these significant cultures, art of one form or another existed all over Europe, wherever there were people, leaving signs such as carvings, decorated artifacts and huge standing stones. However a consistent pattern of artistic development within Europe becomes clear only with the art of Ancient Greece, adopted and transformed by Rome and carried; with the Empire, across much of Europe, North Africa and the Middle East.

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Fantasy art…

Fantasy is a genre that uses magic and other supernatural forms as a primary element of plot, theme, and/or setting. Fantasy is generally distinguished from science fiction and horror by the expectation that it steers clear of technological and macabre themes, respectively, though there is a great deal of overlap between the three (collectively known as speculative fiction).

In its broadest sense, fantasy comprises works by many writers, artists, filmmakers, and musicians, from ancient myths and legends to many recent works embraced by a wide audience today.

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Elvis Costello & Burt Bacharach – “This House Is Empty Now”…

When I have Fears That I may Cease To Be

When I have fears that I may cease to be
Before my pen has glean’d my teeming brain,
Before high – piled books, in charact’ry,
Hold like rich garners the full-ripen’d grain;
When I behold, upon the night’s starr’d face,
Huge cloudy symbols of a high romance,
And feel that I may never live to trace
Their shadows, with the magic hand of chance;
And when I feel, fair creature of an hour!
That I shall never look upon thee more,
Never have relish in the faery power
Of unreflecting love;—then on the shore
Of the wide world I stand alone, and think,
Till Love and Fame to nothingness do sink


When I have Fears that I may Cease to Be” is an Elizabethan sonnet by the English Romantic poet John Keats. The 14-line poem is written in iambic pentameter and consists of three quatrains and a couplet. Keats wrote the poem in 1817 and published it in 1818.

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Romeo and Juliet…Franco Zeffirelli 1968…”What Is a Youth”…

At least 24 operas have been based on Romeo and Juliet.[127] The earliest, Romeo und Julie in 1776, a Singspiel by Georg Benda, omits much of the action of the play and most of its characters, and has a happy ending. It is occasionally revived. The best-known is Gounod’s 1867 Roméo et Juliette (libretto by Jules Barbier and Michel Carré), a critical triumph when first performed and frequently revived today.

Elvis Costello & Burt Bacharach – “Painted From Memory”…

To Memory

Strange Power, I know not what thou art,
Murderer or mistress of my heart.
I know I’d rather meet the blow
Of my most unrelenting foe
Than live—as now I live—to be
Slain twenty times a day by thee.

Yet, when I would command thee hence,
Thou mockest at the vain pretence,
Murmuring in mine ear a song
Once loved, alas! forgotten long;
And on my brow I feel a kiss
That I would rather die than miss.

Mary Elizabeth Coleridge

Yulia Makhalina…”Don Quixote”…Part 1

“O! for a muse of fire, that would ascend the brightest heaven of invention.“-William Shakespeare

Don Quixote is a ballet originally staged in four acts and eight scenes, based on an episode taken from the famous novel Don Quixote de la Mancha by Miguel de Cervantes. Originally choreographed by Marius Petipa to the music of Ludwig Minkus. First presented by the Ballet of the Imperial Bolshoi Theatre of Moscow, Russia on 26 December [O.S. 14 December] 1869. Petipa and Minkus revised the ballet in far more expanded and elaborated edition in five acts and eleven scenes for the Imperial Ballet, first presented on 21 November [O.S. 9 November] 1871 at the Imperial Bolshoi Kamenny Theatre of St. Petersburg.

Yulia Makhalina…”Don Quixote”…Part 2

“And muse on Nature with a poet’s eye.“-Thomas Campbell

Plot outline

The plot is taken from two chapters in Cervantes’ novel of the same name. It concerns the unsuccessful attempt by the rich and foppish Gamache (Camacho in Cervantes’s novel) to marry the beautiful Kitri (known as Quiteria in the novel), who in turn is in love with Basil (or Basilio), a young barber from her village. Kitri wants to marry Basil, but her father desires that she wed the much older Gamache. Kitri and Basil hatch a plan; he pretends to commit suicide by supposedly stabbing himself at the wedding ceremony. His “dying” wish is that Kitri marry him, thus presumably leaving Gamache free to marry her after Basilio’s “death”. Of course, after the ceremony is performed, Basil miraculously “revives”, and Gamache can do nothing except watch the two lovers happily go off. Don Quixote and his squire Sancho Panza are only marginally involved in the storyline, although Quixote mistakes Kitri for Dulcinea, and his famous attack on the windmills (from an earlier chapter in the novel) is shoehorned into the main plot.

Yulia Makhalina…”Don Quixote”…Part 3

“Illustrious acts high raptures do infuse, And every conqueror creates a muse.“-Edmund Waller


Today Don Quixote is considered one of the most joyous and festive of the classical ballets, brimming with spectacular virtuoso dancing. At the same time this abundance of dancing is well organised, showing a clear choreographic and dramatic vision (particularly in the Kirov version).

A short prologue based on mime action is followed by an act called A Square in Barcelona, in which classical choreography imitating the “Spanish Style” is predominant, with a sprinkling of character dances.

The second act, The Gypsy Camp, comes as a sharp contrast- here pantomime and characters dancing reign supreme (although some 15 years ago this scene also contained a lyrical pas de deux for the two main characters).

The next act, Dulcinea’s Garden, is a purely classical one in which only female dancers appear. This is followed by A Tavern in Seville; once again, there is plenty of character dancing and acting- and traditionally, even the ballerina wears heeled shoes in the scene.

The final wedding celebration is an extended classical grand pas with the now famous pas de deux of the main characters.

The characters of the ballet do much more than just perform their numerous variations, however; they express their thoughts and emotions through dancing, and each character has his or her own idiosyncrasies which are expressed in the choreography itself.

Don Quixote is also distinguished by what can be called its democratic spirit: the only “noble cavalier” in the ballet is Gamache, and he is the butt of everyone’s jokes and tricks. Don Quixote himself is treated with an increasing irony, friendly though it may be. By contrast, Kitri and Basilio are heroes of the people; they belong to the crowd and the crowd interferes in their lives without any second thoughts.

Yulia Makhalina…”Don Quixote”…Part 4


Ballet is a formalized form of dance with its origins in the French court, further developed in France and Russia as a concert dance form. It is a highly technical form of dance with its own vocabulary. It is primarily performed with the accompaniment of classical music. It has been influential as a form of dance globally and is taught in ballet schools around the world which use their own culture and society to modernize the art. Ballet dance works (ballets) are choreographed, and also include mime, acting, and are set to music (usually orchestral but occasionally vocal). It is best known in the form of classical ballet, notable for its techniques, such as pointe work and turn-out of the legs, its graceful, flowing, precise movements, and its ethereal qualities. Later developments include neoclassical ballet and contemporary ballet.

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Elvis Costello & Burt Bacharach – “I still have that other girl”…



That crazed girl improvising her music.
Her poetry, dancing upon the shore,
Her soul in division from itself
Climbing, falling She knew not where,
Hiding amid the cargo of a steamship,
Her knee-cap broken, that girl I declare
A beautiful lofty thing, or a thing
Heroically lost, heroically found.

No matter what disaster occurred
She stood in desperate music wound,
Wound, wound, and she made in her triumph
Where the bales and the baskets lay
No common intelligible sound
But sang, ‘O sea-starved, hungry sea.

William Butler Yeats

Rachmaninoff plays the “Rach 3″… Piano Concerto No 3 in D minor 1st movement…1939

“Without music, life would be a mistake.”-Rachmaninoff


Softly, in the dusk, a woman is singing to me;
Taking me back down the vista of years, till I see
A child sitting under the piano, in the boom of the tingling strings
And pressing the small, poised feet of a mother who smiles as she sings.

In spite of myself, the insidious mastery of song
Betrays me back, till the heart of me weeps to belong
To the old Sunday evenings at home, with winter outside
And hymns in the cozy parlor, the tinkling piano our guide.

So now it is vain for the singer to burst into clamor
With the great black piano appassionato. The glamor
Of childish days is upon me, my manhood is cast
Down in the flood of remembrance, I weep like a child for the past.

David Herbert Lawrence


再世紅梅記…Cantonese opera…

Cantonese opera is one of the major categories in Chinese opera, originating in southern China’s Cantonese culture. It is popular in Guangdong, Guangxi, Hong Kong, Macau, Singapore and Malaysia. Like all versions of Chinese opera, it is a traditional Chinese art form, involving music, singing, martial arts, acrobatics, and acting. 粵劇 (Yuèjù) should not be confused with 越劇 (Yuèjù), the theatre of Zhejiang.

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Mao Weitao and Her Yueju Opera Dream …

The Yueju opera player, Mao Weitao is a household name. She is celebrated for her performances of the male role over the last 25 years, and is now the head of the famous Xiaobaihua troupe in Zhejiang province, a troupe especially well known for its all-women cast. Now 42 years of age, Mao Weitao is still active on stage and in her desire to reform Yueju opera. CRI talked to her about Yueju opera, its future, and her own plans.

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Chinese Opera-“Butterfly Lovers”…

“I have always believed that opera is a planet where the muses work together, join hands and celebrate all the arts.”-Franco Zeffirelli

Shaoxing opera (or Yuejusimplified Chinese: 越剧; traditional Chinese: 越劇; pinyin: Yuèjù , Yue opera) is a relatively new local Chinese opera popular in the southern regions of the Yangtze River. It originated in Shengxian County (present Shengzhou City), in the Shaoxing region of northeastern Zhejiang Province, which belonged to the Yue State in ancient times, so it was popularly known as Yueju (, Yue opera). Yue opera has a history of about 800 years. It was derived from a kind of story-singing. At first, it was performed with a small drum and hardwood clappers for rhythm and later, choral and orchestral accompaniment was added. It drew some musical elements from Shao opera and subsequently formed its own characteristics.

Yue opera is noted for its lyricism, and singing is dominant in it. Its tunes are sweet and beautiful and the performance vivid and full of local color. Originally Yue opera was only performed by males and then changed to all female performances. After 1949, male and females work together. Notable actors include Yin Guifang, Zhu Shuizhao, Yuan Xuefen, Wang Wenjuan, Xu Yulan, Fan Ruijuan, Fu Quanxiang, Lu Jinhua, Jin Caifeng, Lü Ruiying, Zhang Yunxia, Zhang Guifeng, and Xu Tianhong.

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Swan Lake…The Kirov Ballet…Yulia Makhalina


The Mariinsky Ballet, is a classical ballet company based at the Mariinsky Theatre in St Petersburg, Russia. Founded in the 19th Century and originally known as the Imperial Russian Ballet, the Mariinsky Ballet is one of the world’s leading ballet companies. Internationally, the Mariinsky Ballet is most commonly known by its former Soviet name the Kirov Ballet, a title which is still used by the company when touring. The Mariisnky Ballet is the parent company of the Vaganova Ballet Academy, a leading international ballet school.

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Leonard Cohen Lyrics….


Now I’ve heard there was a secret chord
That David played, and it pleased the Lord
But you don’t really care for music, do you?
It goes like this
The fourth, the fifth
The minor fall, the major lift
The baffled king composing Hallelujah

Your faith was strong but you needed proof
You saw her bathing on the roof
Her beauty and the moonlight overthrew you
She tied you
To a kitchen chair
She broke your throne, and she cut your hair
And from your lips she drew the Hallelujah

Baby I have been here before
I know this room, I’ve walked this floor
I used to live alone before I knew you.
I’ve seen your flag on the marble arch
Love is not a victory march
It’s a cold and it’s a broken Hallelujah

Hallelujah, Hallelujah
Hallelujah, Hallelujah

There was a time you let me know
What’s really going on below
But now you never show it to me, do you?
And remember when I moved in you
The holy dove was moving too
And every breath we drew was Hallelujah

Hallelujah, Hallelujah
Hallelujah, Hallelujah

You say I took the name in vain
I don’t even know the name
But if I did, well really, what’s it to you?
There’s a blaze of light
In every word
It doesn’t matter which you heard
The holy or the broken Hallelujah

Hallelujah, Hallelujah
Hallelujah, Hallelujah

I did my best, it wasn’t much
I couldn’t feel, so I tried to touch
I’ve told the truth, I didn’t come to fool you
And even though
It all went wrong
I’ll stand before the Lord of Song
With nothing on my tongue but Hallelujah

Hallelujah, Hallelujah
Hallelujah, Hallelujah
Hallelujah, Hallelujah
Hallelujah, Hallelujah
Hallelujah, Hallelujah
Hallelujah, Hallelujah
Hallelujah, Hallelujah
Hallelujah, Hallelujah

Jeff Buckley-Hallelujah…

Arguably Buckley’s most famous work, this was originally written and recorded by Leonard Cohen in 1984 on his album Various Positions.

The song is about love which has soured and gone stale. Cohen used a lot of religious imagery, including references to some of the more notorious women in the bible.
Cohen: “Hallelujah is a Hebrew word which means ‘Glory to the Lord.’ The song explains that many kinds of Hallelujahs do exist. I say: All the perfect and broken Hallelujahs have an equal value. It’s a desire to affirm my faith in life, not in some formal religious way but with enthusiasm, with emotion.”