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The opening number of #MatildaTheMusical is a goldmine for #FilmPhotography nerds. I was especially thrilled to spot a Konica Genbakantoku in there!
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The opening number of #MatildaTheMusical is a goldmine for #FilmPhotography nerds. I was especially thrilled to spot a Konica Genbakantoku in there!
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Ich hab 80% der Zeit bei #MatildaTheMusical geweint.
Fand das als Film damals schon sehr hart, weil ich mit so viel Ungerechtigkeit und Missbrauch nur schwer klarkomme - selbst wenn es eine Geschichte über Widerstand und Verbindungen ist.
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David Dufresne/Au Poste/PeerTube
"On s’est battu.es pour les gagner"
C’est un livre qui part d’un coup de gueule : entendre raconter que nos droits sont des cadeaux tombés du ciel d’on ne sait quels ministres, et non des conquêtes arrachées de haute lutte.
https://mcinformactions.net/on-s-est-battu-es-pour-les-gagner
#MathildeLarrère #droits -
Schönes Feature über Mathilde Jacob, geb. am 8.3.1873.
Sie war Sekretärin und Freundin von #RosaLuxemburg
" .. Ernst Reuter ist haargenau den gleichen politischen Weg gegangen wie #MathildeJacob: Als Levi-Anhänger, in die KAG, USPD und dann in die SPD. Während man Ernst Reuter tagtäglich mit großem Wohlwollen in Berlin begegnet und ihn abfeiert, wollte man einer im KZ gestorbenen Jüdin diese Ehre nicht antun."
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Kupferdiebstähle machen nicht nur Friedhöfen, Metallhändlern und Baufirmen zu schaffen. Auch Kulturdenkmäler sind gefährdet. In #Darmstadt wurden jetzt die Diebe des lebensgroßen Denkmals des Dichters Gottfried Schwab (1851-1903) auf der #Mathildenhöhe gefaßt und das Objekt unbeschädigt vorgefunden. #Kriminalität #Denkmal
Bronze-Statue in Darmstadt gestohlen - zwei Tatverdächtige in Haft -
Was für ein gelungenes Fest und was für eine schöne Ausstellung die Kolleg*innen zusammengestellt haben!
Heute und morgen wird noch gefeiert. Aber ihr könnt natürlich auch nach diesem Wochenende entspannt durch die nach 12 Jahren Sanierung neu eröffnete Ausstellungshalle auf der #Mathildenhöhe flanieren. So lässt sich die Stadt ganz neu entdecken. Es ist uns eine Freude, auch Material für die vorbereitenden Recherchen und für die Ausstellung „4-3-2-1 #Darmstadt“ selbst zur Verfügung gestellt zu haben und die Ergebnisse vor Ort so schön in Szene gesetzt zu sehen.
Das ganze Programm des #Welterbefest|es findet ihr hier: https://www.darmstadt-tourismus.de/veranstaltungen/welterbefest-mathildenhoehe-darmstadt.html -
Wir sind hier, ihr auch? Die #Mathildenhöhe #Darmstadt ist in Partystimmung und wir feiern mit auf dem Welterbefest rund um die langersehnte Eröffnung der Ausstellungshallen.
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Vom 20. bis 22.9.2024 feiert die #Mathildenhöhe ihr Welterbefest, inklusive Eröffnung der Ausstellung “4–3–2–1 #Darmstadt” im umfassend sanierten Ausstellungsgebäude. Wir sind schon gespannt auf das Ereignis und die Präsentation vieler Objekte, deren Vorbereitung wir im #KunstdepotDarmstadt miterleben durften: https://dablog.hypotheses.org/16834
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und insgesamt waren die arbeiten der künstlerkolonie #mathildenhöhe #darmstadt spannend #jugendstil #dortmund
https://www.mathildenhoehe-darmstadt.de/mathildenhoehe-darmstadt/kuenstlerkolonie/ -
HEADS UP!
There are only a few tickets left for the closing event of the #Residenzfestpiele #Darmstadt !ITALIENISCHE OPERNNACHT
Giacomo Puccini Opera-Gala📍 Mathildenhöhe Darmstadt
🗓️ August 11
🕣 20:30Soprano: Megan Marie Hart
Soprano: Jana Baumeister
Tenor: Riccardo Gatto
Baritone: Martin BernerKonzertchor Darmstadt
Darmstädter HofkapelleConductor: Wolfgang Seeliger
ℹ️ 🎟️ https://ztix.de/hp/events/22298/info
#operaGala #openAir #concert #operaSinger #Darmstadt #puccini #opera #Mathildenhöhe
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Es wird günstiger, auf der #Mathildenhöhe in #Darmstadt das Auto zu #parken: Statt bisher fünf Euro werden dort rund um die Uhr nun drei Euro pro halbe Stunde mit einer Höchstparkdauer von zwei Stunden verlangt. Die Stadtverordnetenmehrheit beschloss am Donnerstag auch eine Magistratsvorlage, die das gebührenpflichtige Parken im öffentlichen Straßenraum anpasst.
Es war dort schweineteuer und kostet immer noch ...
https://www.fr.de/rhein-main/darmstadt/parken-auf-der-mathildenhoehe-in-darmstadt-wird-guenstiger-93142575.html -
Es wird günstiger, auf der #Mathildenhöhe in #Darmstadt das Auto zu #parken: Statt bisher fünf Euro werden dort rund um die Uhr nun drei Euro pro halbe Stunde mit einer Höchstparkdauer von zwei Stunden verlangt. Die Stadtverordnetenmehrheit beschloss am Donnerstag auch eine Magistratsvorlage, die das gebührenpflichtige Parken im öffentlichen Straßenraum anpasst.
Es war dort schweineteuer und kostet immer noch ...
https://www.fr.de/rhein-main/darmstadt/parken-auf-der-mathildenhoehe-in-darmstadt-wird-guenstiger-93142575.html -
'Sehenswürdigkeiten/Wahrzeichen'
Kürzlich erst besucht: der Hochzeitsturm auf der #Mathildenhöhe in #Darmstadt, jetzt UNESCO Kulturerbestätte
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'Sehenswürdigkeiten/Wahrzeichen'
Kürzlich erst besucht: der Hochzeitsturm auf der #Mathildenhöhe in #Darmstadt, jetzt UNESCO Kulturerbestätte
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We WON the @[email protected] 'Sport Creator of the Year' 🏆
Thank you to everyone that voted for us, we couldn't have done this without you!
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🗳️ We've been nominated for the TikTok Sports Creator of the Year and voting is now open!
Fans in Australia and New Zealand can vote every day until voting closes on December 1st ⬇️
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Mathilde Wantenaar on her new opera A Song for the Moon: ‘With music you can achieve anything’
Mahtilde Wantenaar (c) Karen van Gilst
In 2013 Mathilde Wantenaar (Amsterdam, 1993) participated in the project Boom|Amsterdam is an opera, two years later she wrote the mini-opera Personar for the first edition of the Opera Forward Festival. In March her family opera Een lied voor de maan (A Song for the Moon) was to have its world premiere in that very festival. Like all concerts in the Netherlands the performances were cancelled because of the outbreak of Covid-19. Let’s hope the planned performances in Madrid, Munich and Aix-en-Provence in May and June will proceed. Here’s the interview I conducted in February.
Mathilde Wantenaar’s love for music was instilled by her parents. Her mother teaches singing, her father plays the accordion, piano and bandoneon, and as long as she can remember she was surrounded by music at home. She played the guitar and cello herself, accompanied her mother’s students and sometimes sang along with them. She also composed her own pieces early on. – Something she initially considered to be her ‘own crazy little thing’; the idea of becoming a composer only arose when she took part in a composition project by Asko|Schönberg at secondary school.
Human voice
In 2011 she enrolled for the preparatory course at the Conservatory of Amsterdam, where she subsequently studied composition, with cello, piano and singing as secondary subjects. Already during her studies she won several prizes, among others in the Alba Rosa Viëtor Composition Competition and the Princess Christina Competition. After graduating in 2016 she applied for a follow-up study in singing at the Royal Conservatoire in The Hague.
From early childhood Wantenaar has had a great affinity with the human voice. In recent years this has led to a series of successful vocal works for renowned Dutch musicians and ensembles such as the soprano Johannette Zomer, the quintet Wishful Singing, the Netherlands Chamber Choir and the Dutch Radio Choir. It was obvious that one day there would be a sequel to her 20-minute opera Personar with which she concluded her composition studies.
Opera
‘As a child I regularly went to operas with my parents’, says Wantenaar. ‘I secretly dreamed of composing one myself, even though I initially considered my children’s pieces and rumblings at the piano to be a private thing. In that respect I lived completely in my own fantasy world. – Until I started thinking about what I would become when I grew up. When I auditioned for the Conservatory of Amsterdam, I was asked where I saw myself in ten years’ time. I answered I hoped to write an opera for Dutch National Opera. – For the big stage.’ She smiles furtively, as if she were ashamed of her youthful hubris.
That’s why she immediately accepted when Dutch National Opera offered her to take part in the workshop ‘composing for a youthful audience’ of the European Network of Opera Academies. The idea of creating a fairy-tale opera originated in 2017, during a workshop conducted by dramaturge Willem Bruls at La Monnaie in Brussels. ‘We formed a team, in which this idea bubbled up. But the question was what kind of fairy-tale exactly? So we started reading a lot of books and someone from the team tipped A Song for the Moon by Toon Tellegen, which she had read to her children herself.’
Toon Tellegen
‘I’ve known Toon Tellegen’s work for a long time, my parents used to read his stories to me when I was little. I still enjoy them. – Occasionally I read them to my boyfriend before we go to sleep. During a period when I was out of my depth at the conservatory I read the collection Misschien wisten zij alles (Maybe they knew everything) in one go. The stories are at the same time comforting, uplifting, wonderful and above all very beautiful. They lifted me above my grief and made me calm.’
However, she did not yet know A Song for the Moon when it was proposed. ‘When I read it, I was immediately touched. It appealed to me that Tellegen broaches themes like loneliness, identity, disappointment and friendship. I especially like the fact that music plays a central role in it, ideal for an opera. The Mole, the main character, undergoes a true development. In the beginning he is a bit shy and insecure, but in the end he crawls out of his shell thanks to the music, makes friends and goes out into the wide world.’
Cheering up the Moon
Wantenaar wrote the libretto herself, together with Willem Bruls, keeping as close as possible to the original: ‘Toon Tellegen’s language is already very musical and imitable. There are five singers and six instrumentalists and the opera lasts about an hour.’
‘In the first act, the Mole is on stage alone. He is lonely and seeks contact with the Moon, but when he greets it he gets no response. He wonders why. Can’t the Moon talk, doesn’t he want to talk, or doesn’t he know what to say? All those things of course also concern the Mole himself, but he doesn’t want to face his own loneliness. He decides to write a song to cheer up the Moon. This proves not to be easy, but in the end he succeeds and shows it to the Grasshopper, who is a conductor.’
‘Together they form an orchestra in the second act, with singing mice and Frog, the diva-tenor. This act is a somewhat comical counterpart to the quiet and sad first movement. They rehearse the song and perform it for the Moon, but when they look up expectantly afterwards, it looks rather sad. Everyone is deeply disappointed and the Mole crawls back into his little hole defeated. He wonders if the Moon is angry now, and may come down to shine straight in his face.’
The power of music
‘In the third and final act the Mole receives composition lessons from the wise Cricket. He looks at the song and says: “I know! It’s a beautiful song, but gloomy.” He changes a lowered tone (a flat tone is calles “mol” in Dutch) into a sharp one (a raised tone), upon which the song suddenly becomes cheerful. Yet the Mole doesn’t quite dare to believe in it yet. He needs the courage of the Grasshopper to present the new version to the Moon.’
‘This time the Moon does looks happy afterwards, he even glows! For a moment the Mole still has doubts about himself, but then he realizes he is good as he is: “I am the Mole and I remain the Mole. Sometimes I’m gloomy, but sometimes I’m cheerful.” He finds the courage to step up to the Earthworm and make his first real friendship. So everything turns out all right at the end of the opera.’
‘The great thing is that the story is easy for children to follow, but at the same time has so much philosophical depth that it is also interesting for adults. The Cricket sings: “With music you can achieve anything”. To me, that’s the core of this opera.’
More info and playlist here.
#ASongForTheMoon #DutchNationalOpera #MathildeWantenaar #ToonTellegen #WillemBruls
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👑JANVIER 👑
Tout premier post par ici - ravie à la perspective d'arriver ici et de quitter progressivement instagram - et tout premier mois de l'année : ça mérite bien un concentré d'amandes et de beurre pour le goûter !
La recette sur la dernière image ✨️ (attention cependant à bien surveiller la cuisson, j'ai peut-être été un poil généreuse sur le temps indiqué..)
Douce soirée,
Mathilde#illustration #janvier #galettedesrois #galetteDesReines #papeterie
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Mathilde Wantenaar: Lush harmonies in new piece for Dutch Radio Choir
Mathilde Wantenaar
This season NTRZaterdagMatinee makes up for decades of neglecting female composers, featuring well-known names such as Kaija Saariaho and Unsuk Chin next to lesser-known composers such as Calliope Tsoupaki and Kate Whitley. On Saturday 23 March the Dutch Radio Choir will present both Gubaidulina’s Canticle of the Sun and Dit zijn de bleeke, bleeklichte weken by Mathilde Wantenaar.
This piece for choir a cappella was commissioned by the renowned radio series in Concertgebouw Amsterdam. As always the concert will be aired live on Radio 4. Underneath you find the translation of my text for the programme booklet.
Mathilde Wantenaar (Amsterdam, 1993) has been steadfastly working on her development for years. In 2011 she attracted attention with her entry for the annual composition competition of the Nederlands Blazers Ensemble. Seven years later the wind players asked her for their project Bach & Sufi. “She sliced up the Hohe Messe, inclined her ears towards Persia, and arranged a musical treat that amply transcends good intentions”, opined de Volkskrant.
In 2014 she won the Alba Rosa Viëtor Composition Prize with Sprookjes 1, 2 & 3 for violin and piano, and a year later her Song of Songs for soprano, guitar and percussion won an award in the Princess Christina Composition Competition. She composed pieces for pianist Ralph van Raat, vocal ensemble Wishful Singing and soprano Johannette Zomer. In 2016 she presented the successful chamber opera p e r s o n a r for the Opera Forward Festival of Dutch National Opera. Her Octet for Strings, written for violinist Liza Ferschtman, represented the Netherlands in 2017 at the International Rostrum of Composers.
She studied composition with such diverse teachers as Willem Jeths and Wim Henderickx at the Conservatory of Amsterdam, graduating in 2016. Wantenaar does not limit herself to composing, however. During her studies she also took cello lessons and vocal training, and currently she is enrolled at the Royal Conservatoire in The Hague to become a professional singer. She has a great affinity with the human voice and even her purely instrumental compositions are remarkably melodious.
Elusive atmosphere
No wonder her first commission for NTRZaterdagMatinee is a composition for the Dutch Radio Choir. For this a cappella piece she chose a poem by Herman Gorter, Dit zijn de bleeke, bleeklichte weken (which roughly translates as These are the pale, pale weeks). This is not the first time she was inspired by Gorter’s poetry. In 2017 she made a setting of De stille weg (The silent road) for chorus, piano and violin, a commission from the Festival De Muze van Zuid.
Wantenaar was attracted by ‘the stillness, the stratification, the visual, the elusive and the transient’ in Dit zijn de bleeke, bleeklichte weken. The poem evoked strong images in her: ‘In my mind’s eye I envisioned the poet sitting in a quiet room at a table next to the window. The sun is hidden behind an endless expansive cover of white clouds, it is as if the world has been drained of all colour, even though there is a lot of light.’
‘Outside there is life, but in the poet’s room everything sounds muted, it feels as if time is standing still and the sky has solidified. We sit under a bell jar, shimmering dust particles float in the air and in the meantime the world slowly passes us by. It is nice to be there, but at the same time also oppressive and lonely.’
Wantenaar translated this static, somewhat floating feeling into a 3/2 metre, which we often associate with older music. The text is sung largely homophonic and the tempo is low, time seems to stand still. Under the calm atmosphere, however a ‘mildly longing romantic undercurrent is simmering’, says the composer. Underneath this yet another layer is concealed, with a ‘darker feeling of constriction’. The play of light and dark finds its equivalent in a varied dynamic, the tranquillity is expressed in sonorous harmonies. A single dissonant chord echoes the subcutaneous tension that shimmers through the poem.
Concertgebouw 23 March 2.15 pm: NTR ZaterdagMatinee
Dutch Radio Choir /Philipp Ahmann; Ivan Monighetti, cello
Wantenaar – Dit zijn de bleeke, bleeklichte weken (commissoned by NTR ZaterdagMatinee, WP)
Tchaikovsky – Nine Sacred Pieces
Gubaidulina – Canticle of the Sun#DutchRadioChoir #GrootOmroepkoor #MathildeWantenaar #NTRZaterdagmatinee #SofiaGubaidulina
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