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Happy 100th birthday, György Kurtág!
On 19 February, György Kurtág hopes to celebrate his 100th birthday. That very day the Muziekgebouw aan het IJ will organise the concert Happy 100 György!, featuring music by Kurtág himself and kindred spirits, as well as three new pieces by Dutch composers. The day after, Die Stechardin, his second opera, will premiere in Budapest.
György Kurtág, the Hungarian grandmaster of incisive aphorisms (Budapest, 1926), is no stranger in the Netherlands. As early as the 1970s, pianist Geoffrey Madge and the Residentie Orkest championed his existentialist music. Yet he rose to true fame in the 1990s, when Reinbert de Leeuw started advocating his music, dedicating many memorable concerts to the amiable composer, with whom he forged a close bond.
In 2016, the Muziekgebouw honoured Kurtág on the occasion of his 90th birthday. During a festive portrait concert, De Leeuw conducted the Asko|Schönberg through works by Webern (a great inspiration for Kurtág), György Ligeti, his namesake and compatriot, and works by Kurtág himself. In the birthday concert on 19 February 2026 again a work by Ligeti will be played: his groundbreaking Poème Symphonique, whose music consists of the ticking of 100 metronomes wound to different tempos.
Kurtág and Reinbert de Leeuw
In 2016, Kurtág and his inseparable wife Márta were too frail to travel from Budapest to Amsterdam for the concert. However, they did appear in a preview of the documentary The Three Kurtágs, made by their niece Judit. This was unique: György and Márta Kurtág often performed as a piano duo, but they never became public figures like Ligeti; they lived a secluded life.
Sitting comfortably together on their sofa, the two discuss the progress of the CD recordings of a large part of Kurtág’s work, which Reinbert de Leeuw has been working on since 2013. They charmingly bounce off each other in a lively conversation, in which a sentence started by one is naturally finished by the other – as if they were literally speaking with one voice. Their love for each other and for De Leeuw is palpable.
They regret not being able to be physically present during the recordings, but because Reinbert plays these back over the phone after each session and also visits them regularly in person, they are still able to comment on them. The notoriously critical Kurtág, who sometimes calls out ‘Nein, nicht so!’ when Reinbert merely raises his arms to begin a piece, is now full of praise. ‘It’s as if they recorded the music in their mother tongue,’ he says with shining eyes.
Musical mother tongue
The three-disc CD box containing all of Kurtág’s conducted choral and ensemble works was released a year later. In the accompanying booklet Kurtág gratefully refers to it as “a royal gift”. That is no exaggeration, because on this release from the German label ECM, Reinbert de Leeuw once again surpassed himself. With his relentless determination to get to the heart of the matter, he leads Asko|Schönberg, Groot Omroepkoor, Cappella Amsterdam and a selection of soloists to intense performances, that allow Kurtág’s soul-piercing sounds to penetrate to the very core.
This unique historical document is still available for purchase for less than forty euros – a bargain. Kurtág’s suggestion that the musicians and singers perform his music as if it were their own mother tongue is no idle chatter. Language is extremely important to the sensitive Hungarian composer – in more ways than one.
He often refers to Béla Bartók as “my musical mother tongue”. But he has created his own unique grammar from poignant, aphoristic bursts of sound that spring from a deep inner necessity. He is a great lover of poetry and literature: of the eleven pieces on the compilation, seven are vocal. Kurtág even learned Russian so that he could read Dostoevsky; three cycles on the CD box set are in this language.
The best known of these is Messages from the Late Miss R.V. Trussova, with which he made his breakthrough in Western Europe in the 1980s. In 21 miniatures, a soprano sings of bitter experiences of love. The longest song lasts 3 minutes, the shortest 22 seconds. In that short span of time, Kurtág sketches an entire novel. Unfortunately none of the three vocal cycles will be performed in the concert Happy 100 György! on 19 February. Het Muziek, successor to Asko|Schönberg, will however perform Akrostichon – Wortspiel for soprano and ensemble by Unsuk Chin.
Kurtág’s first opera causes a sensation
In 2016 the 90-year-old Kurtág was still working on his first and so far only opera, Fin de Partie (Endgame), based on Samuel Beckett’s play of the same name. He had seen it in Paris in 1957 on Ligeti’s recommendation and called it “one of the most powerful experiences of my life”. The opera was commissioned by Teatro alla Scala Milan in 2010, and he had been working on it ever since. Together with Mártá, he significantly condensed the story; only sixty percent of the original text remained. On the other hand, they added Beckett’s poem Roundelay as a prologue.
This prologue premiered during a festival in honour of his 90th birthday at the Liszt Academy in Budapest, where he himself once studied. The world premiere of the complete opera took place in November 2018 at the Teatro alla Scala, directed by Pierre Audi, who died last year, with Markus Stenz conducting. Kurtág and his wife Mártá were again unable to attend; she died a year later.
This first work by the then 92-year-old composer caused a real sensation. The absurd libretto, which barely has any plot and revolves around four people waiting for an indeterminate ending, was immediately hailed as a classic by the international press. In March 2019, the opera was also performed at the Dutch National Opera in Amsterdam, with the Radio Philharmonic Orchestra and again Markus Stenz. Theaterkrant called it “a true musical masterpiece”, while de Volkskrant saw how “supreme aimlessness can lead to supreme beauty”. Unfortunately, I had to miss the performance due to illness.
Fin de Partie (c) Ruth WaltzEver-expanding piano series Jatékok (Games)
For Kurtág’s 95th birthday in 2021, the Muziekgebouw organised an ambitious three-day festival, which was unfortunately cancelled due to the Covid pandemic. Instead, pianist Pierre-Laurent Aimard played excerpts from Jatékok (Games) via a live stream. In this ever-expanding series of miniatures for one and/or two pianos – which he himself calls “pedagogical performance pieces” – Kurtág explores a musical idea or portrays a friend.
He frequently played these with Mártá, and they recorded a number of them on CD. In 2021, Aimard presented several brand-new miniatures, because even at the age of 95, Kurtág was still composing every day. During the concert Happy 100 György! on 19 February, Het Muziek will play a selection from Jatékok in an arrangement by Olivier Cuendet. This organist and composer previously made an orchestral version of Zwiegespräch for string quartet and electronics, which Kurtág composed together with his son of the same name.
The icing on the cake is the rarely performed Lebenslauf for two pianos tuned a quarter-tone apart and two basset horns. Kurtág’s works are placed in context with Ligeti’s Poème symphonique mentioned above and works by Unsuk Chin and Thomas Adès. There are also three world premieres, inspired by the number one hundred. Mayke Nas wrote 100 seconds, Huba de Graaff composed 100 notes, and Jasper de Bock made 100 years (I, II, III, IV).
Kurtág finishes second opera at the age of 99
Kurtág completed his first opera when he was 92 years old, but he did not rest on his laurels afterwards. Commissioned by the Budapest Music Centre, he composed a new opera, Die Stechardin, which will premiere on 20 February 2026 during a birthday festival in Budapest.
The libretto is based on letters and writings by the German scientist Georg Christoph Lindberg, who had a relationship with his student Maria Dorothea Stechard, twenty years his junior. Although she died at the age of seventeen and he later remarried, she always remained his great love. ‘She reconciled me with all of humanity,’ Lindberg wrote to a friend.
The libretto poses recognisable questions about life. Is there an afterlife? Does our soul live on after our death? Is there love that transcends the grave? The action is set in another world – heaven, an alternative reality? – where Maria waits for her beloved to rejoin her.
Kurtág completed this three-part monologue for soprano and orchestra in June 2025 and orchestrated it together with Zsolt Serei. Maria Husmann, who has been working with Kurtág for decades, sings the title role, accompanied by the Concerto Budapest Orchestra under András Keller.
Farewell
It is not surprising that Kurtág was drawn to this theme: in 2019, he lost Mártá, who had been his partner for 72 years and remained his inspiration throughout his life. While his opera Fin de partie can be viewed as an artistic testament, Die Stechardin may be considered a farewell, celebrating the beauty of life and love. It expresses reconciliation with death and Kurtág’s hope for a speedy reunion with his beloved.
May he be able to attend the world premiere on 20 February 2026 in Budapest, and then join Márta, wherever she may be.
On 19 February, I will moderate the introduction to the birthday concert Happy 100 György in the Muziekgebouw aan ‘t IJ. Starting at 7.15 p.m., admission free. I will speak with Fedor Teunisse, artistic director of Het Muziek, and the composers De Bock, De Graaff and Nas.
#DieStechardin #GyörgyKurtág #GyörgyLigeti #HubaDeGraaff #MaykeNas #UnsukChin -
Happy 100th birthday, György Kurtág!
On 19 February, György Kurtág hopes to celebrate his 100th birthday. That very day the Muziekgebouw aan het IJ will organise the concert Happy 100 György!, featuring music by Kurtág himself and kindred spirits, as well as three new pieces by Dutch composers. The day after, Die Stechardin, his second opera, will premiere in Budapest.
György Kurtág, the Hungarian grandmaster of incisive aphorisms (Budapest, 1926), is no stranger in the Netherlands. As early as the 1970s, pianist Geoffrey Madge and the Residentie Orkest championed his existentialist music. Yet he rose to true fame in the 1990s, when Reinbert de Leeuw started advocating his music, dedicating many memorable concerts to the amiable composer, with whom he forged a close bond.
In 2016, the Muziekgebouw honoured Kurtág on the occasion of his 90th birthday. During a festive portrait concert, De Leeuw conducted the Asko|Schönberg through works by Webern (a great inspiration for Kurtág), György Ligeti, his namesake and compatriot, and works by Kurtág himself. In the birthday concert on 19 February 2026 again a work by Ligeti will be played: his groundbreaking Poème Symphonique, whose music consists of the ticking of 100 metronomes wound to different tempos.
Kurtág and Reinbert de Leeuw
In 2016, Kurtág and his inseparable wife Márta were too frail to travel from Budapest to Amsterdam for the concert. However, they did appear in a preview of the documentary The Three Kurtágs, made by their niece Judit. This was unique: György and Márta Kurtág often performed as a piano duo, but they never became public figures like Ligeti; they lived a secluded life.
Sitting comfortably together on their sofa, the two discuss the progress of the CD recordings of a large part of Kurtág’s work, which Reinbert de Leeuw has been working on since 2013. They charmingly bounce off each other in a lively conversation, in which a sentence started by one is naturally finished by the other – as if they were literally speaking with one voice. Their love for each other and for De Leeuw is palpable.
They regret not being able to be physically present during the recordings, but because Reinbert plays these back over the phone after each session and also visits them regularly in person, they are still able to comment on them. The notoriously critical Kurtág, who sometimes calls out ‘Nein, nicht so!’ when Reinbert merely raises his arms to begin a piece, is now full of praise. ‘It’s as if they recorded the music in their mother tongue,’ he says with shining eyes.
Musical mother tongue
The three-disc CD box containing all of Kurtág’s conducted choral and ensemble works was released a year later. In the accompanying booklet Kurtág gratefully refers to it as “a royal gift”. That is no exaggeration, because on this release from the German label ECM, Reinbert de Leeuw once again surpassed himself. With his relentless determination to get to the heart of the matter, he leads Asko|Schönberg, Groot Omroepkoor, Cappella Amsterdam and a selection of soloists to intense performances, that allow Kurtág’s soul-piercing sounds to penetrate to the very core.
This unique historical document is still available for purchase for less than forty euros – a bargain. Kurtág’s suggestion that the musicians and singers perform his music as if it were their own mother tongue is no idle chatter. Language is extremely important to the sensitive Hungarian composer – in more ways than one.
He often refers to Béla Bartók as “my musical mother tongue”. But he has created his own unique grammar from poignant, aphoristic bursts of sound that spring from a deep inner necessity. He is a great lover of poetry and literature: of the eleven pieces on the compilation, seven are vocal. Kurtág even learned Russian so that he could read Dostoevsky; three cycles on the CD box set are in this language.
The best known of these is Messages from the Late Miss R.V. Trussova, with which he made his breakthrough in Western Europe in the 1980s. In 21 miniatures, a soprano sings of bitter experiences of love. The longest song lasts 3 minutes, the shortest 22 seconds. In that short span of time, Kurtág sketches an entire novel. Unfortunately none of the three vocal cycles will be performed in the concert Happy 100 György! on 19 February. Het Muziek, successor to Asko|Schönberg, will however perform Akrostichon – Wortspiel for soprano and ensemble by Unsuk Chin.
Kurtág’s first opera causes a sensation
In 2016 the 90-year-old Kurtág was still working on his first and so far only opera, Fin de Partie (Endgame), based on Samuel Beckett’s play of the same name. He had seen it in Paris in 1957 on Ligeti’s recommendation and called it “one of the most powerful experiences of my life”. The opera was commissioned by Teatro alla Scala Milan in 2010, and he had been working on it ever since. Together with Mártá, he significantly condensed the story; only sixty percent of the original text remained. On the other hand, they added Beckett’s poem Roundelay as a prologue.
This prologue premiered during a festival in honour of his 90th birthday at the Liszt Academy in Budapest, where he himself once studied. The world premiere of the complete opera took place in November 2018 at the Teatro alla Scala, directed by Pierre Audi, who died last year, with Markus Stenz conducting. Kurtág and his wife Mártá were again unable to attend; she died a year later.
This first work by the then 92-year-old composer caused a real sensation. The absurd libretto, which barely has any plot and revolves around four people waiting for an indeterminate ending, was immediately hailed as a classic by the international press. In March 2019, the opera was also performed at the Dutch National Opera in Amsterdam, with the Radio Philharmonic Orchestra and again Markus Stenz. Theaterkrant called it “a true musical masterpiece”, while de Volkskrant saw how “supreme aimlessness can lead to supreme beauty”. Unfortunately, I had to miss the performance due to illness.
Fin de Partie (c) Ruth WaltzEver-expanding piano series Jatékok (Games)
For Kurtág’s 95th birthday in 2021, the Muziekgebouw organised an ambitious three-day festival, which was unfortunately cancelled due to the Covid pandemic. Instead, pianist Pierre-Laurent Aimard played excerpts from Jatékok (Games) via a live stream. In this ever-expanding series of miniatures for one and/or two pianos – which he himself calls “pedagogical performance pieces” – Kurtág explores a musical idea or portrays a friend.
He frequently played these with Mártá, and they recorded a number of them on CD. In 2021, Aimard presented several brand-new miniatures, because even at the age of 95, Kurtág was still composing every day. During the concert Happy 100 György! on 19 February, Het Muziek will play a selection from Jatékok in an arrangement by Olivier Cuendet. This organist and composer previously made an orchestral version of Zwiegespräch for string quartet and electronics, which Kurtág composed together with his son of the same name.
The icing on the cake is the rarely performed Lebenslauf for two pianos tuned a quarter-tone apart and two basset horns. Kurtág’s works are placed in context with Ligeti’s Poème symphonique mentioned above and works by Unsuk Chin and Thomas Adès. There are also three world premieres, inspired by the number one hundred. Mayke Nas wrote 100 seconds, Huba de Graaff composed 100 notes, and Jasper de Bock made 100 years (I, II, III, IV).
Kurtág finishes second opera at the age of 99
Kurtág completed his first opera when he was 92 years old, but he did not rest on his laurels afterwards. Commissioned by the Budapest Music Centre, he composed a new opera, Die Stechardin, which will premiere on 20 February 2026 during a birthday festival in Budapest.
The libretto is based on letters and writings by the German scientist Georg Christoph Lindberg, who had a relationship with his student Maria Dorothea Stechard, twenty years his junior. Although she died at the age of seventeen and he later remarried, she always remained his great love. ‘She reconciled me with all of humanity,’ Lindberg wrote to a friend.
The libretto poses recognisable questions about life. Is there an afterlife? Does our soul live on after our death? Is there love that transcends the grave? The action is set in another world – heaven, an alternative reality? – where Maria waits for her beloved to rejoin her.
Kurtág completed this three-part monologue for soprano and orchestra in June 2025 and orchestrated it together with Zsolt Serei. Maria Husmann, who has been working with Kurtág for decades, sings the title role, accompanied by the Concerto Budapest Orchestra under András Keller.
Farewell
It is not surprising that Kurtág was drawn to this theme: in 2019, he lost Mártá, who had been his partner for 72 years and remained his inspiration throughout his life. While his opera Fin de partie can be viewed as an artistic testament, Die Stechardin may be considered a farewell, celebrating the beauty of life and love. It expresses reconciliation with death and Kurtág’s hope for a speedy reunion with his beloved.
May he be able to attend the world premiere on 20 February 2026 in Budapest, and then join Márta, wherever she may be.
On 19 February, I will moderate the introduction to the birthday concert Happy 100 György in the Muziekgebouw aan ‘t IJ. Starting at 7.15 p.m., admission free. I will speak with Fedor Teunisse, artistic director of Het Muziek, and the composers De Bock, De Graaff and Nas.
#DieStechardin #GyörgyKurtág #GyörgyLigeti #HubaDeGraaff #MaykeNas #UnsukChin -
Happy 100th birthday, György Kurtág!
On 19 February, György Kurtág hopes to celebrate his 100th birthday. That very day the Muziekgebouw aan het IJ will organise the concert Happy 100 György!, featuring music by Kurtág himself and kindred spirits, as well as three new pieces by Dutch composers. The day after, Die Stechardin, his second opera, will premiere in Budapest.
György Kurtág, the Hungarian grandmaster of incisive aphorisms (Budapest, 1926), is no stranger in the Netherlands. As early as the 1970s, pianist Geoffrey Madge and the Residentie Orkest championed his existentialist music. Yet he rose to true fame in the 1990s, when Reinbert de Leeuw started advocating his music, dedicating many memorable concerts to the amiable composer, with whom he forged a close bond.
In 2016, the Muziekgebouw honoured Kurtág on the occasion of his 90th birthday. During a festive portrait concert, De Leeuw conducted the Asko|Schönberg through works by Webern (a great inspiration for Kurtág), György Ligeti, his namesake and compatriot, and works by Kurtág himself. In the birthday concert on 19 February 2026 again a work by Ligeti will be played: his groundbreaking Poème Symphonique, whose music consists of the ticking of 100 metronomes wound to different tempos.
Kurtág and Reinbert de Leeuw
In 2016, Kurtág and his inseparable wife Márta were too frail to travel from Budapest to Amsterdam for the concert. However, they did appear in a preview of the documentary The Three Kurtágs, made by their niece Judit. This was unique: György and Márta Kurtág often performed as a piano duo, but they never became public figures like Ligeti; they lived a secluded life.
Sitting comfortably together on their sofa, the two discuss the progress of the CD recordings of a large part of Kurtág’s work, which Reinbert de Leeuw has been working on since 2013. They charmingly bounce off each other in a lively conversation, in which a sentence started by one is naturally finished by the other – as if they were literally speaking with one voice. Their love for each other and for De Leeuw is palpable.
They regret not being able to be physically present during the recordings, but because Reinbert plays these back over the phone after each session and also visits them regularly in person, they are still able to comment on them. The notoriously critical Kurtág, who sometimes calls out ‘Nein, nicht so!’ when Reinbert merely raises his arms to begin a piece, is now full of praise. ‘It’s as if they recorded the music in their mother tongue,’ he says with shining eyes.
Musical mother tongue
The three-disc CD box containing all of Kurtág’s conducted choral and ensemble works was released a year later. In the accompanying booklet Kurtág gratefully refers to it as “a royal gift”. That is no exaggeration, because on this release from the German label ECM, Reinbert de Leeuw once again surpassed himself. With his relentless determination to get to the heart of the matter, he leads Asko|Schönberg, Groot Omroepkoor, Cappella Amsterdam and a selection of soloists to intense performances, that allow Kurtág’s soul-piercing sounds to penetrate to the very core.
This unique historical document is still available for purchase for less than forty euros – a bargain. Kurtág’s suggestion that the musicians and singers perform his music as if it were their own mother tongue is no idle chatter. Language is extremely important to the sensitive Hungarian composer – in more ways than one.
He often refers to Béla Bartók as “my musical mother tongue”. But he has created his own unique grammar from poignant, aphoristic bursts of sound that spring from a deep inner necessity. He is a great lover of poetry and literature: of the eleven pieces on the compilation, seven are vocal. Kurtág even learned Russian so that he could read Dostoevsky; three cycles on the CD box set are in this language.
The best known of these is Messages from the Late Miss R.V. Trussova, with which he made his breakthrough in Western Europe in the 1980s. In 21 miniatures, a soprano sings of bitter experiences of love. The longest song lasts 3 minutes, the shortest 22 seconds. In that short span of time, Kurtág sketches an entire novel. Unfortunately none of the three vocal cycles will be performed in the concert Happy 100 György! on 19 February. Het Muziek, successor to Asko|Schönberg, will however perform Akrostichon – Wortspiel for soprano and ensemble by Unsuk Chin.
Kurtág’s first opera causes a sensation
In 2016 the 90-year-old Kurtág was still working on his first and so far only opera, Fin de Partie (Endgame), based on Samuel Beckett’s play of the same name. He had seen it in Paris in 1957 on Ligeti’s recommendation and called it “one of the most powerful experiences of my life”. The opera was commissioned by Teatro alla Scala Milan in 2010, and he had been working on it ever since. Together with Mártá, he significantly condensed the story; only sixty percent of the original text remained. On the other hand, they added Beckett’s poem Roundelay as a prologue.
This prologue premiered during a festival in honour of his 90th birthday at the Liszt Academy in Budapest, where he himself once studied. The world premiere of the complete opera took place in November 2018 at the Teatro alla Scala, directed by Pierre Audi, who died last year, with Markus Stenz conducting. Kurtág and his wife Mártá were again unable to attend; she died a year later.
This first work by the then 92-year-old composer caused a real sensation. The absurd libretto, which barely has any plot and revolves around four people waiting for an indeterminate ending, was immediately hailed as a classic by the international press. In March 2019, the opera was also performed at the Dutch National Opera in Amsterdam, with the Radio Philharmonic Orchestra and again Markus Stenz. Theaterkrant called it “a true musical masterpiece”, while de Volkskrant saw how “supreme aimlessness can lead to supreme beauty”. Unfortunately, I had to miss the performance due to illness.
Fin de Partie (c) Ruth WaltzEver-expanding piano series Jatékok (Games)
For Kurtág’s 95th birthday in 2021, the Muziekgebouw organised an ambitious three-day festival, which was unfortunately cancelled due to the Covid pandemic. Instead, pianist Pierre-Laurent Aimard played excerpts from Jatékok (Games) via a live stream. In this ever-expanding series of miniatures for one and/or two pianos – which he himself calls “pedagogical performance pieces” – Kurtág explores a musical idea or portrays a friend.
He frequently played these with Mártá, and they recorded a number of them on CD. In 2021, Aimard presented several brand-new miniatures, because even at the age of 95, Kurtág was still composing every day. During the concert Happy 100 György! on 19 February, Het Muziek will play a selection from Jatékok in an arrangement by Olivier Cuendet. This organist and composer previously made an orchestral version of Zwiegespräch for string quartet and electronics, which Kurtág composed together with his son of the same name.
The icing on the cake is the rarely performed Lebenslauf for two pianos tuned a quarter-tone apart and two basset horns. Kurtág’s works are placed in context with Ligeti’s Poème symphonique mentioned above and works by Unsuk Chin and Thomas Adès. There are also three world premieres, inspired by the number one hundred. Mayke Nas wrote 100 seconds, Huba de Graaff composed 100 notes, and Jasper de Bock made 100 years (I, II, III, IV).
Kurtág finishes second opera at the age of 99
Kurtág completed his first opera when he was 92 years old, but he did not rest on his laurels afterwards. Commissioned by the Budapest Music Centre, he composed a new opera, Die Stechardin, which will premiere on 20 February 2026 during a birthday festival in Budapest.
The libretto is based on letters and writings by the German scientist Georg Christoph Lindberg, who had a relationship with his student Maria Dorothea Stechard, twenty years his junior. Although she died at the age of seventeen and he later remarried, she always remained his great love. ‘She reconciled me with all of humanity,’ Lindberg wrote to a friend.
The libretto poses recognisable questions about life. Is there an afterlife? Does our soul live on after our death? Is there love that transcends the grave? The action is set in another world – heaven, an alternative reality? – where Maria waits for her beloved to rejoin her.
Kurtág completed this three-part monologue for soprano and orchestra in June 2025 and orchestrated it together with Zsolt Serei. Maria Husmann, who has been working with Kurtág for decades, sings the title role, accompanied by the Concerto Budapest Orchestra under András Keller.
Farewell
It is not surprising that Kurtág was drawn to this theme: in 2019, he lost Mártá, who had been his partner for 72 years and remained his inspiration throughout his life. While his opera Fin de partie can be viewed as an artistic testament, Die Stechardin may be considered a farewell, celebrating the beauty of life and love. It expresses reconciliation with death and Kurtág’s hope for a speedy reunion with his beloved.
May he be able to attend the world premiere on 20 February 2026 in Budapest, and then join Márta, wherever she may be.
On 19 February, I will moderate the introduction to the birthday concert Happy 100 György in the Muziekgebouw aan ‘t IJ. Starting at 7.15 p.m., admission free. I will speak with Fedor Teunisse, artistic director of Het Muziek, and the composers De Bock, De Graaff and Nas.
#DieStechardin #GyörgyKurtág #GyörgyLigeti #HubaDeGraaff #MaykeNas #UnsukChin -
Elena Guicciardi si concentra sull’«intermezzo marsigliese» di Bertoli
Fonte: Marta Cicchinelli, Op. cit. infraLa strage, che costituisce uno degli episodi più oscuri della strategia della tensione, giunse al termine di una lunga serie di attentati che avevano insanguinato il paese a partire dal ‘69 di cui i più rilevanti, oltre naturalmente a piazza Fontana, furono la strage di Gioia Tauro del 22 luglio del ‘70 e quella di Peteano del 31 maggio del ‘72. L’attentato avvenne giovedì 17 maggio 1973, alle ore 10:55, presso la Questura di via Fatebenefratelli quando Gianfranco Bertoli lanciò una bomba contro il portone d’ingresso del palazzo. Il bilancio fu di quattro morti e cinquantatré feriti. Quella mattina si era da poco conclusa la commemorazione del primo anniversario dell’assassinio del commissario Luigi Calabresi. Dopo l’arresto Bertoli si professò anarchico sostenendo di aver compiuto l’attentato per vendicare Pinelli; le sue dichiarazioni, a cui si sarebbe sempre attenuto, seguivano alla lettera le istruzioni che gli erano state impartite nei mesi antecedenti da alcuni dei più importanti membri di Ordine Nuovo durante i giorni di indottrinamento trascorsi a Verona dove l’uomo, in vista dell’imminente attentato, era stato tenuto sotto stretta osservazione. Il coinvolgimento della figura di Calabresi naturalmente serviva ad occultare meglio la mano degli ideatori rendendo più credibile la paternità anarchica della strage. L’obbiettivo dell’attacco, poi mancato, era il ministro dell’interno Mariano Rumor colpevole, secondo gli ordinovisti, di non aver proclamato lo stato di emergenza dopo la bomba del 12 dicembre del ‘69. L’eliminazione del ministro, nei piani degli ideatori della strage, avrebbe dovuto servire anche ad evitare una riedizione del centro-sinistra che si stava profilando come altamente probabile sulla base degli equilibri politici interni alla DC.
[…] A chiudere “La radiografia di un terrorista” l’inchiesta di Mario Scialoja “E ora parliamo di soldi”, che prova a ricostruire da dove provengano i finanziamenti alla rete eversiva neofascista che opera in Italia. Il giornalista identifica due fonti che rimandano entrambe a Junio Valerio Borghese. Alla prima, Scialoja giunge analizzando il processo tenuto dal sostituto procuratore Claudio Vitalone che si era aperto a Roma per il fallimento, avvenuto nel ’68, della Banca del Credito Commerciale Industriale (Credilcomin), il cui presidente era proprio il principe Valerio Borghese. Il processo si sarebbe concluso nel luglio del 1973, a due mesi dall’uscita dell’articolo, con la condanna di tutti gli imputati davanti alla prima sezione penale del Tribunale di Roma. A quel che era emerso nel corso delle indagini, nella Credilcomin erano confluiti, attraverso Gil Robles e Julio Munoz, entrambi legati all’Opus Dei spagnola, i dieci miliardi di lire trafugati dal figlio dell’ex dittatore di Santo Domingo, Rafael Trujllo, portati al momento della fuga nella Spagna franchista. I miliardi, poi spariti nel nulla, erano stati utilizzati per finanziare i piani eversivi dell’ex capo della X Mas. La seconda fonte di finanziamento viene individuata da Scialoja a partire da un breve rapporto del SID, emerso durante il processo, che risaliva al 1969 e sul quale, in quei giorni, aveva presentato un’interrogazione parlamentare il deputato socialista Giuseppe Machiavelli. Le tre cartelle dattiloscritte contenevano il resoconto di tre riunioni che avevano avuto luogo a Genova nella villa dell’industriale Guido Canale tra l’aprile e il maggio del 1969. Alle riunioni avevano partecipato circa una ventina di persone, tra cui, oltre a diversi industriali e armatori genovesi, l’avvocato Gianni Meneghini, difensore di Nico Azzi, e Giancarlo de Marchi, tesoriere della Rosa dei Venti. Lo scopo delle riunioni era, oltre a costituire una sezione provinciale del Fronte Nazionale, quello di reperire finanziamenti a sostegno delle trame eversive, in funzione anticomunista. In quelle occasioni erano stati raccolti 100 milioni di lire. Singolare è che il rapporto del SID non faccia menzione di quanto dichiarato dal fondatore del Fronte Nazionale nel corso della prima riunione, la sola alla quale aveva partecipato. A quanto sarebbe emerso dalle dichiarazioni di uno dei presenti, Borghese parlò dell’esistenza di «un’organizzazione militare di professionisti che era pronta ad agire per impedire con la forza l’avvento al potere dei comunisti e per instaurare un regime di tipo gollista». <110 Che l’obbiettivo di queste riunioni fosse la raccolta di fondi a sostegno di un colpo di stato è dimostrato dalle parole dell’ingegner Fedelini, delegato provinciale del Fronte, il quale aveva precisato nel corso della terza riunione, che l’organizzazione era articolata in due settori specializzati: «quello militare, con il compito di occupare e presidiare le città principali e gli uffici pubblici più importanti e quello civile, con la funzione di orientare l’opinione pubblica, di fare proselitismo e di reperire sovvenzioni». <111
Il 3 giugno «L’Espresso» ritorna sulla strage di via Fatebenefratelli con due articoli d’inchiesta, uno di Mario Scialoja, “Passeggiando per le fogne di Padova”, l’altro di Elena Guicciardi, “Se Pussy Cat si decide a cantare”. Al centro della pagina, nella metà superiore la foto di Franco Freda dietro le sbarre durante il processo per il libretto rosso <112, in alto a destra, accanto al titolo, un primo piano di Pasquale Juliano che indossa una coppola bianca. Si tratta di due interventi che cercano di ricostruire i legami di Bertoli con l’ambiente eversivo della destra padovana e con le organizzazioni neofasciste francesi presenti in Provenza, alle quali secondo la redazione del settimanale occorre guardare per comprendere «chi ha mosso il braccio assassino di Bertoli». <113 Secondo Scialoja l’elemento di connessione tra Bertoli e Ordine Nuovo sarebbe proprio Tommasoni, la cui amicizia con l’autore della strage costituisce a suo giudizio la chiave per la comprensione del retroterra criminale a cui va ricondotto l’attentato di via Fatebenefratelli. Tommasoni come sappiamo era finito sotto i riflettori per l’affare Juliano, il capo della squadra mobile a cui aveva fatto i nomi di Fachini, Freda e Ventura, indicandoli come responsabili della lunga catena di attentati del ’69. Pasquale Juliano, com’è noto, a causa della successiva ritrattazione di Tommasoni e di altri suoi confidenti, dietro ai quali stava la regia dell’Ufficio Affari Riservati, era finito sul banco degli imputati per abuso di mezzi investigativi, venendo alla fine messo in congedo e sospeso dal servizio. Servendosi del memoriale difensivo scritto dal commissario nel settembre 1969, Scialoja ricostruisce in modo puntuale l’intera vicenda: il Tommasoni era stato presentato al capo della mobile da un altro giovane neofascista padovano, Nicolò Pezzato, da tempo confidente della polizia, che glielo aveva indicato come un uomo disposto a parlare in cambio di denaro. Questo aspetto, sottolineava Juliano, era stato confermato dal loro primo incontro durante il quale Tommasoni aveva chiesto al commissario il pagamento di una cambiale da 10.000 lire e, successivamente, dalla denuncia contro lo zio per detenzioni d’armi, fatta per intascare un premio di 5.000 lire. Oltre ad essere «un infido mercenario», Tommasoni – osserva Scialoja – era anche un fascista vicino a uomini chiave dell’eversione nera veneta, finiti tutti «in prigione o gravemente compromessi nelle indagini condotte da giudice istruttore Gerardo D’Ambrosio e dal Procuratore della Repubblica di Padova Aldo Fais». <114 L’uomo infatti era legato a Franco Freda, che era stato arrestato per la prima volta nel 1971 su mandato di Giancarlo Stiz, e a Massimiliano Fachini, luogotenente di Freda, ex consigliere comunale del MSI e presidente del FUAN. Questi dopo essere stato arrestato per gli attentati del 1969 proprio da Juliano ed essere stato prosciolto, era stato oggetto di un procedimento giudiziario da parte di D’Ambrosio per concorso in omicidio volontario di Alberto Muraro, il portiere dello stabile di Piazza Insurrezione dove abitava Fachini, che era il solo a poter testimoniare a favore del commissario in relazione al procedimento avviato contro di lui per irregolarità nelle indagini, e che era singolarmente volato dalla tromba delle scale, dopo aver ricevuto un colpo in testa. Proprio una settimana prima dell’uscita dell’articolo di Scialoja, Fachini era finito nuovamente sotto indagine per la strage di piazza Fontana. <115 Secondo il giornalista è proprio a questo «torbido sottobosco nero padovano» <116 che ruota intorno ad Ordine nuovo che bisogna guardare per chiarire i mandanti che stanno dietro la strage alla Questura. Il legame con ON, spiega al temine dell’articolo Scialoja, consentirebbe inoltre di comprendere gli agganci di Bertoli con l’estrema destra francese, visti gli stretti rapporti della formazione padovana con le organizzazioni neofasciste e paramilitari europee, specie con ex esponenti dell’OAS. Ancora una volta desta una certa impressione rileggere oggi questo intervento di Scialoja che, sulla scorta di pochi indizi e basandosi sull’intuizione della buona fede del capo della mobile, era riuscito a giungere alle medesime conclusioni cui sarebbe pervenuta molti anni dopo, con non poche difficoltà, la magistratura.
L’intervento di Elena Guicciardi si concentra sull’«intermezzo marsigliese» <117 di Bertoli, che costituiva per gli inquirenti uno dei principali nodi da sciogliere per provare a dare una spiegazione a quanto era accaduto il 17 maggio a Milano. Il titolo del pezzo allude al clima di intimidazione che si era diffuso nei mesi antecedenti alla strage nei confronti dei proprietari di caffè e locali notturni situati tra Nizza e Marsiglia, che erano stati fatti saltare in aria o incendiati. Il Pussy cat era proprio un locale situato sul vecchio porto di Marsiglia, che era stato oggetto di un attentato dinamitardo, la cui padrona probabilmente era a conoscenza delle frequentazioni di Bertoli. L’autrice ritiene che i contatti marsigliesi dell’attentatore di via Fatebenefratelli vadano ricercati nell’ambiente eversivo della destra francese costituito prevalentemente dai nazionalisti rimpatriati dall’Algeria dopo l’indipendenza, molti dei quali erano rientrati in Francia, dopo aver trovato rifugio nei regimi fascisti della penisola iberica, a seguito dell’amnistia concessa nel 1968 dal generale De Gaulle. La pista indicata dalla Guicciardi è decisamente interessante se si pensa che erano stati proprio gli ex militari francesi fuggiti dall’Algeria e riparati in Portogallo a fondare nel 1966 l’agenzia di stampa internazionale Aginter Press, implicata nelle manovre delle destre eversive di tutta Europa e, come sarebbe emerso dalle indagini della magistratura, anche nella strage alla Banca Nazionale dell’Agricoltura. Tra le figure alle quali bisognava guardare, la Guicciardi cita in particolare due noti esponenti dell’OAS, Joseph Ortiz e Jean Marie Susini. Truculento protagonista della lotta per l’Algeria francese, implicato nella vicenda della Villa Sources, dove venivano torturati i militanti del FLN, prima di essere sciolti nell’acido solforico, Ortiz era stato uno degli ideatori, insieme al deputato Pierre Lagaillarde, della “rivolta delle barricate” che si era consumata ad Algeri nel gennaio del 1960. Condannato a morte in contumacia, nel 1968 Ortiz era rientrato in Francia dove, a Tolone, aveva fondato, insieme all’ex-capo del servizio stampa dell’OAS, André Seguin, il “Club dei nazionalisti rimpatriati”, punto d’incontro per la destra fascista francese. L’altra figura su cui si sofferma la giornalista è Susini. Fondatore dell’OAS (Organisation de l’Armée Secrète), un’organizzazione clandestina, composta da civili e militari, che intendeva continuare con metodi terroristici la lotta per l’Algeria francese, Susini era stato condannato a morte in contumacia oltre che per l’appartenenza all’organizzazione, anche per essere stato l’ideatore del fallito attentato contro il presidente De Gaulle nel 1964. Rifugiatosi prima in Spagna, poi in Italia, dove aveva vissuto per ben cinque anni sotto falsa identità, Susini era ritornato in Francia grazie all’amnistia del ’68. Qui aveva stretto rapporti oltre che con i vecchi commilitoni di destra, anche con la malavita marsigliese, con la quale aveva organizzato numerose rapine ai danni delle banche della Costa Azzurra. Nell’ottobre del 1972, infine, era stato nuovamente arrestato con l’accusa di aver organizzato il rapimento e la scomparsa del tenente colonnello Raymond Gorel, l’ex-tesoriere dell’OAS che si era appropriato del tesoro dell’armata segreta, mettendolo al sicuro in Svizzera. Con parole simili a quelle utilizzate da Scialoja, l’autrice concludeva sottolineando che il misterioso interlocutore marsigliese con cui i fratelli Yemmi, appartenenti a Jeune Revolution – gruppo legato all’organizzazione di estrema destra Ordre Nouveau -, avevano messo in contatto Bertoli andava cercato proprio in questa giungla popolata da fascisti, criminali senza scrupoli, sopravvissuti ai conflitti coloniali. Solo riuscendo a fare luce su quei tre giorni di buio tra l’approdo di Bertoli a Marsiglia e l’arrivo a Milano, sarebbe stato possibile arrivare ad una ricostruzione plausibile della strage alla Questura.
[NOTE]
110 M. Scialoja, E ora parliamo di soldi, in «L’Espresso», a. XIX, n. 21, 27 maggio 1973, p. 5.
111 Ibid.
112 Del libretto rosso e della strategia della cellula padovana di Ordine Nuovo ne parla Gianni Casalini in un colloquio riportato da Guido Salvini sul suo sito. Il libretto era stato scritto interamente da Franco Freda mentre Giovanni Ventura ne aveva curato la stampa. Cfr. Il libretto rosso di Freda e Ventura, https://guidosalvini.it/libro-nel-cinquantenario-di-piazza-fontana (consultato il 18 febbraio 2024).
113 M. Scialoja, Passeggiando per le fogne di Padova, in «L’Espresso», a. XIX, n. 22, 3 giugno 1973, p. 9.
114 Ibid.
115 Durante una perquisizione a casa di Fachini era stata trovata una chiave che si adattava perfettamente alla serratura della cassetta metallica che conteneva la bomba fatta esplodere il 12 dicembre in piazza Fontana. Al momento in cui Scialoja scriveva l’articolo era in corso una perizia per accertare la che la chiave corrispondesse effettivamente al blocco serratura della cassetta metallica. Ibid.
116 Ibid.
117 E. Guicciardi, Se pussy cat si decide a cantare, in «L’Espresso», a. XIX, n. 22, 3 giugno 1973, p. 9.
Marta Cicchinelli, Stampa e strategia della tensione: la strage alla Questura di Milano sui settimanali italiani, Tesi di laurea, Università degli Studi di Milano, Anno Accademico 2023-2024#1969 #1973 #AginterPress #AndréSeguin #anticomunismo #attentati #Credilcomin #destra #ElenaGuicciardi #estrema #ex #Fronte #Genova #GianfrancoBertoli #GilRobles #giornalisti #JunioValerioBorghese #lEspresso #MarioScialoja #marsiglia #MartaCicchinelli #milano #Nazionale #neofascisti #NicolòPezzato #nizza #OAS #OdineNuovo #provenza #PussyCat #questura #rosa #Venti
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Elena Guicciardi si concentra sull’«intermezzo marsigliese» di Bertoli
Fonte: Marta Cicchinelli, Op. cit. infraLa strage, che costituisce uno degli episodi più oscuri della strategia della tensione, giunse al termine di una lunga serie di attentati che avevano insanguinato il paese a partire dal ‘69 di cui i più rilevanti, oltre naturalmente a piazza Fontana, furono la strage di Gioia Tauro del 22 luglio del ‘70 e quella di Peteano del 31 maggio del ‘72. L’attentato avvenne giovedì 17 maggio 1973, alle ore 10:55, presso la Questura di via Fatebenefratelli quando Gianfranco Bertoli lanciò una bomba contro il portone d’ingresso del palazzo. Il bilancio fu di quattro morti e cinquantatré feriti. Quella mattina si era da poco conclusa la commemorazione del primo anniversario dell’assassinio del commissario Luigi Calabresi. Dopo l’arresto Bertoli si professò anarchico sostenendo di aver compiuto l’attentato per vendicare Pinelli; le sue dichiarazioni, a cui si sarebbe sempre attenuto, seguivano alla lettera le istruzioni che gli erano state impartite nei mesi antecedenti da alcuni dei più importanti membri di Ordine Nuovo durante i giorni di indottrinamento trascorsi a Verona dove l’uomo, in vista dell’imminente attentato, era stato tenuto sotto stretta osservazione. Il coinvolgimento della figura di Calabresi naturalmente serviva ad occultare meglio la mano degli ideatori rendendo più credibile la paternità anarchica della strage. L’obbiettivo dell’attacco, poi mancato, era il ministro dell’interno Mariano Rumor colpevole, secondo gli ordinovisti, di non aver proclamato lo stato di emergenza dopo la bomba del 12 dicembre del ‘69. L’eliminazione del ministro, nei piani degli ideatori della strage, avrebbe dovuto servire anche ad evitare una riedizione del centro-sinistra che si stava profilando come altamente probabile sulla base degli equilibri politici interni alla DC.
[…] A chiudere “La radiografia di un terrorista” l’inchiesta di Mario Scialoja “E ora parliamo di soldi”, che prova a ricostruire da dove provengano i finanziamenti alla rete eversiva neofascista che opera in Italia. Il giornalista identifica due fonti che rimandano entrambe a Junio Valerio Borghese. Alla prima, Scialoja giunge analizzando il processo tenuto dal sostituto procuratore Claudio Vitalone che si era aperto a Roma per il fallimento, avvenuto nel ’68, della Banca del Credito Commerciale Industriale (Credilcomin), il cui presidente era proprio il principe Valerio Borghese. Il processo si sarebbe concluso nel luglio del 1973, a due mesi dall’uscita dell’articolo, con la condanna di tutti gli imputati davanti alla prima sezione penale del Tribunale di Roma. A quel che era emerso nel corso delle indagini, nella Credilcomin erano confluiti, attraverso Gil Robles e Julio Munoz, entrambi legati all’Opus Dei spagnola, i dieci miliardi di lire trafugati dal figlio dell’ex dittatore di Santo Domingo, Rafael Trujllo, portati al momento della fuga nella Spagna franchista. I miliardi, poi spariti nel nulla, erano stati utilizzati per finanziare i piani eversivi dell’ex capo della X Mas. La seconda fonte di finanziamento viene individuata da Scialoja a partire da un breve rapporto del SID, emerso durante il processo, che risaliva al 1969 e sul quale, in quei giorni, aveva presentato un’interrogazione parlamentare il deputato socialista Giuseppe Machiavelli. Le tre cartelle dattiloscritte contenevano il resoconto di tre riunioni che avevano avuto luogo a Genova nella villa dell’industriale Guido Canale tra l’aprile e il maggio del 1969. Alle riunioni avevano partecipato circa una ventina di persone, tra cui, oltre a diversi industriali e armatori genovesi, l’avvocato Gianni Meneghini, difensore di Nico Azzi, e Giancarlo de Marchi, tesoriere della Rosa dei Venti. Lo scopo delle riunioni era, oltre a costituire una sezione provinciale del Fronte Nazionale, quello di reperire finanziamenti a sostegno delle trame eversive, in funzione anticomunista. In quelle occasioni erano stati raccolti 100 milioni di lire. Singolare è che il rapporto del SID non faccia menzione di quanto dichiarato dal fondatore del Fronte Nazionale nel corso della prima riunione, la sola alla quale aveva partecipato. A quanto sarebbe emerso dalle dichiarazioni di uno dei presenti, Borghese parlò dell’esistenza di «un’organizzazione militare di professionisti che era pronta ad agire per impedire con la forza l’avvento al potere dei comunisti e per instaurare un regime di tipo gollista». <110 Che l’obbiettivo di queste riunioni fosse la raccolta di fondi a sostegno di un colpo di stato è dimostrato dalle parole dell’ingegner Fedelini, delegato provinciale del Fronte, il quale aveva precisato nel corso della terza riunione, che l’organizzazione era articolata in due settori specializzati: «quello militare, con il compito di occupare e presidiare le città principali e gli uffici pubblici più importanti e quello civile, con la funzione di orientare l’opinione pubblica, di fare proselitismo e di reperire sovvenzioni». <111
Il 3 giugno «L’Espresso» ritorna sulla strage di via Fatebenefratelli con due articoli d’inchiesta, uno di Mario Scialoja, “Passeggiando per le fogne di Padova”, l’altro di Elena Guicciardi, “Se Pussy Cat si decide a cantare”. Al centro della pagina, nella metà superiore la foto di Franco Freda dietro le sbarre durante il processo per il libretto rosso <112, in alto a destra, accanto al titolo, un primo piano di Pasquale Juliano che indossa una coppola bianca. Si tratta di due interventi che cercano di ricostruire i legami di Bertoli con l’ambiente eversivo della destra padovana e con le organizzazioni neofasciste francesi presenti in Provenza, alle quali secondo la redazione del settimanale occorre guardare per comprendere «chi ha mosso il braccio assassino di Bertoli». <113 Secondo Scialoja l’elemento di connessione tra Bertoli e Ordine Nuovo sarebbe proprio Tommasoni, la cui amicizia con l’autore della strage costituisce a suo giudizio la chiave per la comprensione del retroterra criminale a cui va ricondotto l’attentato di via Fatebenefratelli. Tommasoni come sappiamo era finito sotto i riflettori per l’affare Juliano, il capo della squadra mobile a cui aveva fatto i nomi di Fachini, Freda e Ventura, indicandoli come responsabili della lunga catena di attentati del ’69. Pasquale Juliano, com’è noto, a causa della successiva ritrattazione di Tommasoni e di altri suoi confidenti, dietro ai quali stava la regia dell’Ufficio Affari Riservati, era finito sul banco degli imputati per abuso di mezzi investigativi, venendo alla fine messo in congedo e sospeso dal servizio. Servendosi del memoriale difensivo scritto dal commissario nel settembre 1969, Scialoja ricostruisce in modo puntuale l’intera vicenda: il Tommasoni era stato presentato al capo della mobile da un altro giovane neofascista padovano, Nicolò Pezzato, da tempo confidente della polizia, che glielo aveva indicato come un uomo disposto a parlare in cambio di denaro. Questo aspetto, sottolineava Juliano, era stato confermato dal loro primo incontro durante il quale Tommasoni aveva chiesto al commissario il pagamento di una cambiale da 10.000 lire e, successivamente, dalla denuncia contro lo zio per detenzioni d’armi, fatta per intascare un premio di 5.000 lire. Oltre ad essere «un infido mercenario», Tommasoni – osserva Scialoja – era anche un fascista vicino a uomini chiave dell’eversione nera veneta, finiti tutti «in prigione o gravemente compromessi nelle indagini condotte da giudice istruttore Gerardo D’Ambrosio e dal Procuratore della Repubblica di Padova Aldo Fais». <114 L’uomo infatti era legato a Franco Freda, che era stato arrestato per la prima volta nel 1971 su mandato di Giancarlo Stiz, e a Massimiliano Fachini, luogotenente di Freda, ex consigliere comunale del MSI e presidente del FUAN. Questi dopo essere stato arrestato per gli attentati del 1969 proprio da Juliano ed essere stato prosciolto, era stato oggetto di un procedimento giudiziario da parte di D’Ambrosio per concorso in omicidio volontario di Alberto Muraro, il portiere dello stabile di Piazza Insurrezione dove abitava Fachini, che era il solo a poter testimoniare a favore del commissario in relazione al procedimento avviato contro di lui per irregolarità nelle indagini, e che era singolarmente volato dalla tromba delle scale, dopo aver ricevuto un colpo in testa. Proprio una settimana prima dell’uscita dell’articolo di Scialoja, Fachini era finito nuovamente sotto indagine per la strage di piazza Fontana. <115 Secondo il giornalista è proprio a questo «torbido sottobosco nero padovano» <116 che ruota intorno ad Ordine nuovo che bisogna guardare per chiarire i mandanti che stanno dietro la strage alla Questura. Il legame con ON, spiega al temine dell’articolo Scialoja, consentirebbe inoltre di comprendere gli agganci di Bertoli con l’estrema destra francese, visti gli stretti rapporti della formazione padovana con le organizzazioni neofasciste e paramilitari europee, specie con ex esponenti dell’OAS. Ancora una volta desta una certa impressione rileggere oggi questo intervento di Scialoja che, sulla scorta di pochi indizi e basandosi sull’intuizione della buona fede del capo della mobile, era riuscito a giungere alle medesime conclusioni cui sarebbe pervenuta molti anni dopo, con non poche difficoltà, la magistratura.
L’intervento di Elena Guicciardi si concentra sull’«intermezzo marsigliese» <117 di Bertoli, che costituiva per gli inquirenti uno dei principali nodi da sciogliere per provare a dare una spiegazione a quanto era accaduto il 17 maggio a Milano. Il titolo del pezzo allude al clima di intimidazione che si era diffuso nei mesi antecedenti alla strage nei confronti dei proprietari di caffè e locali notturni situati tra Nizza e Marsiglia, che erano stati fatti saltare in aria o incendiati. Il Pussy cat era proprio un locale situato sul vecchio porto di Marsiglia, che era stato oggetto di un attentato dinamitardo, la cui padrona probabilmente era a conoscenza delle frequentazioni di Bertoli. L’autrice ritiene che i contatti marsigliesi dell’attentatore di via Fatebenefratelli vadano ricercati nell’ambiente eversivo della destra francese costituito prevalentemente dai nazionalisti rimpatriati dall’Algeria dopo l’indipendenza, molti dei quali erano rientrati in Francia, dopo aver trovato rifugio nei regimi fascisti della penisola iberica, a seguito dell’amnistia concessa nel 1968 dal generale De Gaulle. La pista indicata dalla Guicciardi è decisamente interessante se si pensa che erano stati proprio gli ex militari francesi fuggiti dall’Algeria e riparati in Portogallo a fondare nel 1966 l’agenzia di stampa internazionale Aginter Press, implicata nelle manovre delle destre eversive di tutta Europa e, come sarebbe emerso dalle indagini della magistratura, anche nella strage alla Banca Nazionale dell’Agricoltura. Tra le figure alle quali bisognava guardare, la Guicciardi cita in particolare due noti esponenti dell’OAS, Joseph Ortiz e Jean Marie Susini. Truculento protagonista della lotta per l’Algeria francese, implicato nella vicenda della Villa Sources, dove venivano torturati i militanti del FLN, prima di essere sciolti nell’acido solforico, Ortiz era stato uno degli ideatori, insieme al deputato Pierre Lagaillarde, della “rivolta delle barricate” che si era consumata ad Algeri nel gennaio del 1960. Condannato a morte in contumacia, nel 1968 Ortiz era rientrato in Francia dove, a Tolone, aveva fondato, insieme all’ex-capo del servizio stampa dell’OAS, André Seguin, il “Club dei nazionalisti rimpatriati”, punto d’incontro per la destra fascista francese. L’altra figura su cui si sofferma la giornalista è Susini. Fondatore dell’OAS (Organisation de l’Armée Secrète), un’organizzazione clandestina, composta da civili e militari, che intendeva continuare con metodi terroristici la lotta per l’Algeria francese, Susini era stato condannato a morte in contumacia oltre che per l’appartenenza all’organizzazione, anche per essere stato l’ideatore del fallito attentato contro il presidente De Gaulle nel 1964. Rifugiatosi prima in Spagna, poi in Italia, dove aveva vissuto per ben cinque anni sotto falsa identità, Susini era ritornato in Francia grazie all’amnistia del ’68. Qui aveva stretto rapporti oltre che con i vecchi commilitoni di destra, anche con la malavita marsigliese, con la quale aveva organizzato numerose rapine ai danni delle banche della Costa Azzurra. Nell’ottobre del 1972, infine, era stato nuovamente arrestato con l’accusa di aver organizzato il rapimento e la scomparsa del tenente colonnello Raymond Gorel, l’ex-tesoriere dell’OAS che si era appropriato del tesoro dell’armata segreta, mettendolo al sicuro in Svizzera. Con parole simili a quelle utilizzate da Scialoja, l’autrice concludeva sottolineando che il misterioso interlocutore marsigliese con cui i fratelli Yemmi, appartenenti a Jeune Revolution – gruppo legato all’organizzazione di estrema destra Ordre Nouveau -, avevano messo in contatto Bertoli andava cercato proprio in questa giungla popolata da fascisti, criminali senza scrupoli, sopravvissuti ai conflitti coloniali. Solo riuscendo a fare luce su quei tre giorni di buio tra l’approdo di Bertoli a Marsiglia e l’arrivo a Milano, sarebbe stato possibile arrivare ad una ricostruzione plausibile della strage alla Questura.
[NOTE]
110 M. Scialoja, E ora parliamo di soldi, in «L’Espresso», a. XIX, n. 21, 27 maggio 1973, p. 5.
111 Ibid.
112 Del libretto rosso e della strategia della cellula padovana di Ordine Nuovo ne parla Gianni Casalini in un colloquio riportato da Guido Salvini sul suo sito. Il libretto era stato scritto interamente da Franco Freda mentre Giovanni Ventura ne aveva curato la stampa. Cfr. Il libretto rosso di Freda e Ventura, https://guidosalvini.it/libro-nel-cinquantenario-di-piazza-fontana (consultato il 18 febbraio 2024).
113 M. Scialoja, Passeggiando per le fogne di Padova, in «L’Espresso», a. XIX, n. 22, 3 giugno 1973, p. 9.
114 Ibid.
115 Durante una perquisizione a casa di Fachini era stata trovata una chiave che si adattava perfettamente alla serratura della cassetta metallica che conteneva la bomba fatta esplodere il 12 dicembre in piazza Fontana. Al momento in cui Scialoja scriveva l’articolo era in corso una perizia per accertare la che la chiave corrispondesse effettivamente al blocco serratura della cassetta metallica. Ibid.
116 Ibid.
117 E. Guicciardi, Se pussy cat si decide a cantare, in «L’Espresso», a. XIX, n. 22, 3 giugno 1973, p. 9.
Marta Cicchinelli, Stampa e strategia della tensione: la strage alla Questura di Milano sui settimanali italiani, Tesi di laurea, Università degli Studi di Milano, Anno Accademico 2023-2024#1969 #1973 #AginterPress #AndréSeguin #anticomunismo #attentati #Credilcomin #destra #ElenaGuicciardi #estrema #ex #Fronte #Genova #GianfrancoBertoli #GilRobles #giornalisti #JunioValerioBorghese #lEspresso #MarioScialoja #marsiglia #MartaCicchinelli #milano #Nazionale #neofascisti #NicolòPezzato #nizza #OAS #OdineNuovo #provenza #PussyCat #questura #rosa #Venti
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Security Issues in Matrix’s Olm Library
I don’t consider myself exceptional in any regard, but I stumbled upon a few cryptography vulnerabilities in Matrix’s Olm library with so little effort that it was nearly accidental.
It should not be this easy to find these kind of issues in any product people purportedly rely on for private messaging, which many people evangelize incorrectly as a Signal alternative.
Later, I thought I identified an additional vulnerability that would have been much worse, but I was wrong about that one. For the sake of transparency and humility, I’ll also describe that in detail.
This post is organized as follows:
- Disclosure Timeline
- Vulnerabilities in Olm (Technical Details)
- Recommendations
- Background Information
- An Interesting Non-Issue That Looked Critical
I’ve opted to front-load the timeline and vulnerability details to respect the time of busy security professionals.
Please keep in mind that this website is a furry blog, first and foremost, that sometimes happens to cover security and cryptography topics.
Many people have, over the years, assumed the opposite and commented accordingly. The ensuing message board threads are usually is a waste of time and energy for everyone involved. So please adjust your expectations.
Art by HarubakiIf you’re curious, you can learn more here.
Disclosure Timeline
- 2024-05-15: I took a quick look at the Matrix source code. I identified two issues and emailed them to their
security@email address.In my email, I specify that I plan to disclose my findings publicly in 90 days (i.e. on August 14), in adherence with industry best practices for coordinated disclosure, unless they request an extension in writing.
- 2024-05-16: I checked something else on a whim and find a third issue, which I also email to their
security@email address. - 2024-05-17: Matrix security team confirms receipt of my reports.
- 2024-05-17: I follow up with a suspected fourth finding–the most critical of them all. They point out that it is not actually an issue, because I overlooked an important detail in how the code is architected. Mea culpa!
- 2024-05-18: A friend discloses a separate finding with Matrix: Media can be decrypted to multiple valid plaintexts using different keys and Malicious homeservers can trick Element/Schildichat into revealing links in E2EE rooms.
They instructed the Matrix developers to consult with me if they needed cryptography guidance. I never heard from them on this externally reported issue.
- 2024-07-12: I shared this blog post draft with the Matrix security team while reminding them of the public disclosure date.
- 2024-07-31: Matrix pushes a commit that announces that libolm is deprecated.
- 2024-07-31: I email the Matrix security team asking if they plan to fix the reported issues (and if not, if there’s any other reason I should withhold publication).
- 2024-07-31: Matrix confirms they will not fix these issues (due to its now deprecated status), but ask that I withhold publication until the 14th as originally discussed.
- 2024-08-14: This blog post is publicly disclosed to the Internet.
- 2024-08-14: The lead Matrix dev claims they already knew about these issues, and, in fact, knowingly shipped cryptography code that was vulnerable to side-channel attacks for years. See Addendum.
- 2024-08-23: MITRE has assigned CVE IDs to these three findings.
Vulnerabilities in Olm
I identified the following issues with Olm through a quick skim of their source code on Gitlab:
- AES implementation is vulnerable to cache-timing attacks
- Ed25519 signatures are malleable
- Timing leakage in base64 decoding of private key material
This is sorted by the order in which they were discovered, rather than severity.
AES implementation is vulnerable to cache-timing attacks
a.k.a. CVE-2024-45191
Olm ships a pure-software implementation of AES, rather than leveraging hardware acceleration.
// Substitutes a word using the AES S-Box.WORD SubWord(WORD word){unsigned int result;result = (int)aes_sbox[(word >> 4) & 0x0000000F][word & 0x0000000F];result += (int)aes_sbox[(word >> 12) & 0x0000000F][(word >> 8) & 0x0000000F] << 8;result += (int)aes_sbox[(word >> 20) & 0x0000000F][(word >> 16) & 0x0000000F] << 16;result += (int)aes_sbox[(word >> 28) & 0x0000000F][(word >> 24) & 0x0000000F] << 24;return(result);}The code in question is called from this code, which is in turn used to actually encrypt messages.
Software implementations of AES that use a look-up table for the SubWord step of the algorithm are famously susceptible to cache-timing attacks.
This kind of vulnerability in software AES was previously used to extract a secret key from OpenSSL and dm-crypt in about 65 milliseconds. Both papers were published in 2005.
A general rule in cryptography is, “attacks only get better; they never get worse“.
As of 2009, you could remotely detect a timing difference of about 15 microseconds over the Internet with under 50,000 samples. Side-channel exploits are generally statistical in nature, so such a sample size is generally not a significant mitigation.
How is this code actually vulnerable?
In the above code snippet, the vulnerability occurs in
aes_sbox[/* ... */][/* ... */].Due to the details of how the AES block cipher works, the input variable (
word) is a sensitive value.Software written this way allows attackers to detect whether or not a specific value was present in one of the processor’s caches.
To state the obvious: Cache hits are faster than cache misses. This creates an observable timing difference.
Such a timing leak allows the attacker to learn the value that was actually stored in said cache. You can directly learn this from other processes on the same hardware, but it’s also observable over the Internet (with some jitter) through the normal operation of vulnerable software.
See also: cryptocoding’s description for table look-ups indexed by secret data.
How to mitigate this cryptographic side-channel
The correct way to solve this problem is to use hardware accelerated AES, which uses distinct processor features to implement the AES round function and side-steps any cache-timing shenanigans with the S-box.
Not only is this more secure, but it’s faster and uses less energy too!
If you’re also targeting devices that don’t have hardware acceleration available, you should first use hardware acceleration where possible, but then fallback to a bitsliced implementation such as the one in Thomas Pornin’s BearSSL.
See also: the BearSSL documentation for constant-time AES.
Art by AJEd25519 signatures are malleable
a.k.a. CVE-2024-45193
Ed25519 libraries come in various levels of quality regarding signature validation criteria; much to the chagrin of cryptography engineers everywhere. One of those validation criteria involves signature malleability.
Signature malleability usually isn’t a big deal for most protocols, until suddenly you discover a use case where it is. If it matters, that usually that means you’re doing something with cryptocurrency.
Briefly, if your signatures are malleable, that means you can take an existing valid signature for a given message and public key, and generate a second valid signature for the same message. The utility of this flexibility is limited, and the impact depends a lot on how you’re using signatures and what properties you hope to get out of them.
For ECDSA, this means that for a given signature , a second signature is also possible (where is the order of the elliptic curve group you’re working with).
Matrix uses Ed25519, whose malleability is demonstrated between and .
This is trivially possible because S is implicitly reduced modulo the order of the curve, , which is a 253-bit number (
0x1000000000000000000000000000000014def9dea2f79cd65812631a5cf5d3ed) and S is encoded as a 256-bit number.The Ed25519 library used within Olm does not ensure that , thus signatures are malleable. You can verify this yourself by looking at the Ed25519 verification code.
int ed25519_verify(const unsigned char *signature, const unsigned char *message, size_t message_len, const unsigned char *public_key) { unsigned char h[64]; unsigned char checker[32]; sha512_context hash; ge_p3 A; ge_p2 R; if (signature[63] & 224) { return 0; } if (ge_frombytes_negate_vartime(&A, public_key) != 0) { return 0; } sha512_init(&hash); sha512_update(&hash, signature, 32); sha512_update(&hash, public_key, 32); sha512_update(&hash, message, message_len); sha512_final(&hash, h); sc_reduce(h); ge_double_scalarmult_vartime(&R, h, &A, signature + 32); ge_tobytes(checker, &R); if (!consttime_equal(checker, signature)) { return 0; } return 1;}This is almost certainly a no-impact finding (or low-impact at worst), but still an annoying one to see in 2024.
If you’d like to learn more, this page is a fun demo of Ed25519 malleability.
To mitigate this, I recommend implementing these checks from libsodium.
Art: CMYKatTiming leakage in base64 decoding of private key material
a.k.a. CVE-2024-45192
If you weren’t already tired of cache-timing attacks based on table look-ups from AES, the Matrix base64 code is also susceptible to the same implementation flaw.
while (pos != end) { unsigned value = DECODE_BASE64[pos[0] & 0x7F]; value <<= 6; value |= DECODE_BASE64[pos[1] & 0x7F]; value <<= 6; value |= DECODE_BASE64[pos[2] & 0x7F]; value <<= 6; value |= DECODE_BASE64[pos[3] & 0x7F]; pos += 4; output[2] = value; value >>= 8; output[1] = value; value >>= 8; output[0] = value; output += 3;}The base64 decoding function in question is used to load the group session key, which means the attack published in this paper almost certainly applies.
How would you mitigate this leakage?
Steve Thomas (one of the judges of the Password Hashing Competition, among other noteworthy contributions) wrote some open source code a while back that implements base64 encoding routines in constant-time.
The real interesting part is how it avoids a table look-up by using arithmetic (from this file):
// Base64 character set:// [A-Z] [a-z] [0-9] + /// 0x41-0x5a, 0x61-0x7a, 0x30-0x39, 0x2b, 0x2finline int base64Decode6Bits(char src){int ch = (unsigned char) src;int ret = -1;// if (ch > 0x40 && ch < 0x5b) ret += ch - 0x41 + 1; // -64ret += (((0x40 - ch) & (ch - 0x5b)) >> 8) & (ch - 64);// if (ch > 0x60 && ch < 0x7b) ret += ch - 0x61 + 26 + 1; // -70ret += (((0x60 - ch) & (ch - 0x7b)) >> 8) & (ch - 70);// if (ch > 0x2f && ch < 0x3a) ret += ch - 0x30 + 52 + 1; // 5ret += (((0x2f - ch) & (ch - 0x3a)) >> 8) & (ch + 5);// if (ch == 0x2b) ret += 62 + 1;ret += (((0x2a - ch) & (ch - 0x2c)) >> 8) & 63;// if (ch == 0x2f) ret += 63 + 1;ret += (((0x2e - ch) & (ch - 0x30)) >> 8) & 64;return ret;}Any C library that handles base64 codecs for private key material should use a similar implementation. It’s fine to have a faster base64 implementation for non-secret data.
Worth noting: Libsodium also provides a reasonable Base64 codec.
Recommendations
These issues are not fixed in libolm.
Instead of fixing libolm, the Matrix team recommends all Matrix clients adopt vodozemac.
I can’t speak to the security of vodozemac.
Art: CMYKatBut I can speak against the security of libolm, so moving to vodozemac is probably a good idea. It was audited by Least Authority at one point, so it’s probably fine.
Most Matrix clients that still depended on libolm should treat this blog as public 0day, unless the Matrix security team already notified you about these issues.
Background Information
If you’re curious about the backstory and context of these findings, read on.
Otherwise, feel free to skip this section. It’s not pertinent to most audiences. The people that need to read it already know who they are.
End-to-end encryption is one of the topics within cryptography that I find myself often writing about.
In 2020, I wrote a blog post covering end-to-end encryption for application developers. This was published several months after another blog I wrote covering gripes with AES-GCM, which included a shallow analysis of how Signal uses the algorithm for local storage.
In 2021, I published weaknesses in another so-called private messaging app called Threema.
In 2022, after Elon Musk took over Twitter, I joined the Fediverse and sought to build end-to-end encryption support for direct messages into ActivityPub, starting with a specification. Work on this effort was stalled while trying to solve Public Key distribution in a federated environment (which I hope to pick up soon, but I digress).
Earlier this year, the Telegram CEO started fearmongering about Signal with assistance from Elon Musk, so I wrote a blog post urging the furry fandom to move away from Telegram and start using Signal more. As I had demonstrated years prior, I was familiar with Signal’s code and felt it was a good recommendation for security purposes (even if its user experience needs significant work).
I thought that would be a nice, self-contained blog post. Some might listen, most would ignore it, but I could move on with my life.
I was mistaken about that last point.
Art by AJAn overwhelming number of people took it upon themselves to recommend or inquire about Matrix, which prompted me to hastily scribble down my opinion on Matrix so that I might copy/paste a link around and save myself a lot of headache.
Just when I thought the firehose was manageable and I could move onto other topics, one of the Matrix developers responded to my opinion post.
Thus, I decided to briefly look at their source code and see if any major or obvious cryptography issues would fall out of a shallow visual scan.
Since you’re reading this post, you already know how that ended.
Credit: CMYKatSince the first draft of this blog post was penned, I also outlined what I mean when I say an encrypted messaging app is a Signal competitor or not, and published my opinion on XMPP+OMEMO (which people also recommend for private messaging).
Why mention all this?
Because it’s important to know that I have not audited the Olm or Megolm codebases, nor even glanced at their new Rust codebase.
The fact is, I never intended to study Matrix. I was annoyed into looking at it in the first place.
My opinion of their project was already calcified by the previously discovered practically-exploitable cryptographic vulnerabilities in Matrix in 2022.
The bugs described above are the sort of thing I mentally scan for when I first look at a project just to get a feel for the maturity of the codebase. I do this with the expectation (hope, really) of not finding anything at all.
(If you want two specific projects that I’ve subjected to a similar treatment, and failed to discover anything interesting in: Signal and WireGuard. These two set the bar for cryptographic designs.)
It’s absolutely bonkers that an AES cache timing vulnerability was present in their code in 2024.
It’s even worse when you remember that I was inundated with Matrix evangelism in response to recommending furries use Signal.
I’m a little outraged because of how irresponsible this is, in context.
It’s so bad that I didn’t even need to clone their git repository, let alone run basic static analysis tools locally.
So if you take nothing else away from this blog post, let it be this:
There is roughly a 0% chance that I got extremely lucky in my mental
grepand found the only cryptography implementation flaws in their source code. I barely tried at all and found these issues.I would bet money on there being more bugs or design flaws that I didn’t find, because this discovery was the result of an extremely half-assed effort to blow off steam.
Wasn’t libolm deprecated in May 2022?
The Matrix developers like to insist that their new Rust hotness “vodozemac” is what people should be using today.
I haven’t looked at vodozemac at all, but let’s pretend, for the sake of argument, that its cryptography is actually secure.
(This is very likely if they turn out to be using RustCrypto for their primitives, but I don’t have the time or energy for that nerd snipe, so I’m not going to look. Least Authority did audit their Rust library, for what it’s worth, and Least Authority isn’t clownshoes.)
It’s been more than 2 years since they released vodozemac. What does the ecosystem penetration for this new library look like, in practice?
A quick survey of the various Matrix clients on GitHub says that libolm is still the most widely used cryptography implementation in the Matrix ecosystem (as of this writing):
Matrix ClientCryptography Backendhttps://github.com/tulir/gomukslibolm (1, 2)https://github.com/niochat/niolibolm (1, 2)https://github.com/ulyssa/iambvodozemac (1, 2)https://github.com/mirukana/miragelibolm (1)https://github.com/Pony-House/Clientlibolm (1)https://github.com/MTRNord/cetirizinevodozemac (1)https://github.com/nadams/go-matrixclinonehttps://github.com/mustang-im/mustanglibolm (1)https://github.com/marekvospel/libretrixlibolm (1)https://github.com/yusdacra/icy_matrixnonehttps://github.com/ierho/elementlibolm (through the python SDK)https://github.com/mtorials/cordlessnonehttps://github.com/hwipl/nuqql-matrixdlibolm (through the python SDK)https://github.com/maxkratz/element-webvodozemac (1, 2, 3, 4)https://github.com/asozialesnetzwerk/riotlibolm (wasm file)https://github.com/NotAlexNoyle/Versilibolm (1, 2)3 of the 16 clients surveyed use the new vodozemac library. 10 still use libolm, and 3 don’t appear to implement end-to-end encryption at all.
If we only focus on clients that support E2EE, vodozemac has successfully been adopted by 19% of the open source Matrix clients on GitHub.
I deliberately excluded any repositories that were archived or clearly marked as “old” or “legacy” software, because including those would artificially inflate the representation of libolm. It would make for a more compelling narrative to do so, but I’m not trying to be persuasive here.
Deprecation policies are a beautiful lie. The impact of a vulnerability in Olm or Megolm is still far-reaching, and should be taken seriously by the Matrix community.
Worth calling out: this quick survey, which is based on a GitHub Topic, certainly misses other implementations. Both FluffyChat and Cinny, which were not tagged with this GitHub Topic, depend a language-specific Olm binding.
These bindings in turn wrap libolm rather than the Rust replacement, vodozemac.
But the official clients…
I thought the whole point of choosing Matrix over something like Signal is to be federated, and run your own third-party clients?
If we’re going to insist that everyone should be using Element if they want to be secure, that defeats the entire marketing point about third-party clients that Matrix evangelists cite when they decry Signal’s centralization.
So I really don’t want to hear it.
CMYKatAn Interesting Non-Issue That Looked Critical
As I mentioned in the timeline at the top, I thought I found a fourth issue with Matrix’s codebase. Had I been correct, this would have been a critical severity finding that the entire Matrix ecosystem would need to melt down to remediate.
Fortunately for everyone, I made a mistake, and there is no fourth vulnerability after all.
However, I thought it would be interesting to write about what I thought I found, the impact it would have had if it were real, and why I believed it to be an issue.
Let’s start with the code in question:
void ed25519_sign(unsigned char *signature, const unsigned char *message, size_t message_len, const unsigned char *public_key, const unsigned char *private_key) { sha512_context hash; unsigned char hram[64]; unsigned char r[64]; ge_p3 R; sha512_init(&hash); sha512_update(&hash, private_key + 32, 32); sha512_update(&hash, message, message_len); sha512_final(&hash, r); sc_reduce(r); ge_scalarmult_base(&R, r); ge_p3_tobytes(signature, &R); sha512_init(&hash); sha512_update(&hash, signature, 32); sha512_update(&hash, public_key, 32); sha512_update(&hash, message, message_len); sha512_final(&hash, hram); sc_reduce(hram); sc_muladd(signature + 32, hram, private_key, r);}The highlighted segment is doing pointer arithmetic. This means it’s reading 32 bytes, starting from the 32nd byte in
private_key.What’s actually happening here is:
private_keyis the SHA512 hash of a 256-bit seed. If you look at the function prototype, you’ll notice thatpublic_keyis a separate input.Virtually every other Ed25519 implementation I’ve ever looked at before expected users to provide a 32 byte seed followed by the public key as a single input.
This led me to believe that this
private_key + 32pointer arithmetic was actually using the public key for calculatingr.The variable
r(not to be confused with big R) generated via the first SHA512 is the nonce for a given signature, it must remain secret for Ed25519 to remain secure.If
ris known to an attacker, you can do some arithmetic to recover the secret key from a single signature.Because I had mistakenly believed that
Credit: CMYKatrwas calculated from the SHA512 of only public inputs (the public key and message), which I must emphasize isn’t correct, I had falsely concluded that any previously intercepted signature could be used to steal user’s private keys.But because
private_keywas actually the full SHA512 hash of the seed, rather than the seed concatenated with the public key, this pointer arithmetic did NOT use the public key for the calculation ofr, so this vulnerability does not exist.If the code did what I thought it did, however, this would have been a complete fucking disaster for the Matrix ecosystem. Any previously intercepted message would have allowed an attacker to recover a user’s secret key and impersonate them. It wouldn’t be enough to fix the code; every key in the ecosystem would need to be revoked and rotated.
Whew!
I’m happy to be wrong about this one, because that outcome is a headache nobody wants.
So no action is needed, right?
Well, maybe.
Matrix’s library was not vulnerable, but I honestly wouldn’t put it past software developers at large to somehow, somewhere, use the public key (rather than a secret value) to calculate the EdDSA signature nonces as described in the previous section.
To that end, I would like to propose a test vector be added to the Wycheproof test suite to catch any EdDSA implementation that misuses the public key in this way.
Then, if someone else screws up their Ed25519 implementation in the exact way I thought Matrix was, the Wycheproof tests will catch it.
For example, here’s a vulnerable test input for Ed25519:
{ "should-fail": true, "secret-key": "d1d0ef849f9ec88b4713878442aeebca5c7a43e18883265f7f864a8eaaa56c1ef3dbb3b71132206b81f0f3782c8df417524463d2daa8a7c458775c9af725b3fd", "public-key": "f3dbb3b71132206b81f0f3782c8df417524463d2daa8a7c458775c9af725b3fd", "message": "Test message", "signature": "ffc39da0ce356efb49eb0c08ed0d48a1cadddf17e34f921a8d2732a33b980f4ae32d6f5937a5ed25e03a998e4c4f5910c931b31416e143965e6ce85b0ea93c09"}A similar test vector would also be worth creating for Ed448, but the only real users of Ed448 were the authors of the xz backdoor, so I didn’t bother with that.
(None of the Project Wycheproof maintainers knew this suggestion is coming, by the way, because I was respecting the terms of the coordinated disclosure.)
Closing Thoughts
Despite finding cryptography implementation flaws in Matric’s Olm library, my personal opinion on Matrix remains largely unchanged from 2022. I had already assumed it would not meet my bar for security.
Cryptography engineering is difficult because the vulnerabilities you’re usually dealing with are extremely subtle. (Here’s an unrelated example if you’re not convinced of this general observation.) As SwiftOnSecurity once wrote:
https://twitter.com/SwiftOnSecurity/status/832058185049579524
The people that developed Olm and Megolm has not proven themselves ready to build a Signal competitor. In balance, most teams are not qualified to do so.
I really wish the Matrix evangelists would accept this and stop trying to cram Matrix down other people’s throats when they’re talking about problems with other platforms entirely.
More important for the communities of messaging apps:
You don’t need to be a Signal competitor. Having E2EE is a good thing on its own merits, and really should be table stakes for any social application in 2024.
It’s only when people try to advertise their apps as a Signal alternative (or try to recommend it instead of Signal), and offer less security, that I take offense.
Just be your own thing.
My work-in-progress proposal to bring end-to-end encryption to the Fediverse doesn’t aim to compete with Signal. It’s just meant to improve privacy, which is a good thing to do on its own merits.
If I never hear Matrix evangelism again after today, it would be far too soon.
If anyone feels like I’m picking on Matrix, don’t worry: I have far worse things to say about Telegram, Threema, XMPP+OMEMO, Tox, and a myriad other projects that are hungry for Signal’s market share but don’t measure up from a cryptographic security perspective.
If Signal fucked up as bad as these projects, my criticism of Signal would be equally harsh. (And remember, I have looked at Signal before.)
Addendum (2024-08-14)
One of the lead Matrix devs posted a comment on Hacker News after this blog post went live that I will duplicate here:
the author literally picked random projects from github tagged as matrix, without considering their prevalence or whether they are actually maintained etc.
if you actually look at % of impacted clients, it’s tiny.
meanwhile, it is very unclear that any sidechannel attack on a libolm based client is practical over the network (which is why we didn’t fix this years ago). After all, the limited primitives are commented on in the readme and https://github.com/matrix-org/olm/issues/3 since day 1.
So the Matrix developers already knew about these vulnerabilities, but deliberately didn’t fix them, for years.
Congratulations, you’ve changed my stance. It used to be “I don’t consider Matrix a Signal alternative and they’ve had some embarrassing and impactful crypto bugs but otherwise I don’t care”. Now it’s a stronger stance:
Don’t use Matrix.
I had incorrectly assumed ignorance, when it was in fact negligence.
There’s no reasonable world in which anyone should trust the developers of cryptographic software (i.e., libolm) that deliberately ships with side-channels for years, knowing they’re present, and never bother to fix them.
This is fucking clownshoes.
If you’re curious about the cryptography used by other messaging apps, please refer to this page that collects my blogs about this topic.
#crypto #cryptography #endToEndEncryption #Matrix #sideChannels #vuln
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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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Gavin Bryars: ‘I look upon Billy the Kid with some compassion’
Claron McFadden & Bertrand Belin (c) Bruno Ansellem
In Calamity/Billy the French Théâtre de la Croix-Rousse & the Belgian Muziektheater Transparant combine two mythical heroes of the Wild West. Starting point of this double bill was Ben Johnston’s song cycle Calamity Jane to her Daughter, to which Gavin Bryars composed a companion piece, The Collected Works of Billy the Kid. The production was premiered in March in Lyon, then toured through Switzerland and Belgium; it will be performed at Operadagen Rotterdam on May 25th. I visited the Belgian premiere in Concertgebouw Bruges on 28 April.
The semi-dark stage exudes the atmosphere of a Western Saloon. The soprano Claron McFadden superbly sings the sometimes stark vocal lines Johnston based upon the letters Calamity Jane allegedly wrote to her daughter. With much bravura she brings across the passages in which Jane boasts about her exploits as a gunwoman, switching to a tone of subdued sorrow when she bewails her daughter’s absence. The just intonation of keyboard, organ, violin and percussion makes for a quirky and somewhat archaic sound world that wonderfully suits the subject matter.
In Bryars’ The Collected Works of Billy the Kid McFadden sings all the female roles, clad now in sturdy trousers, then in a matronly apron, depending on who she is impersonating. The French blues star Bertrand Belin is her partner Billy the Kid. He sings with a gritty voice, clutching an inseparable microphone in his left hand. The musicians of Les Percussions Claviers de Lyon at times join in the action. A highpoint is the wild dance violinist Lyonel Schmit performs centre stage, meanwhile playing a fiddle tune at breakneck speed. Hereafter the atmosphere becomes more grim, and when Billy the Kid is finally killed the music assumes a wistful, elegiac tone.
The audience warmly applauds the performers. Bryars himself is not present in Bruges, but we speak on the telephone a week after the concert.
Did you know Johnston’s ‘Calamity Jane to her Daughter’ when you were asked to write a companion piece?
Yes I did, I even have a copy of the letters Calamity Jane wrote to her daughter. Another coincidence is that Ben Johnson and I have been friends for ages. I met him in Illinois in 1968 when I was working on a few dance projects at the university. He was one of the teachers there. I like his song cycle very much, especially so within the range of his work.
Ben has worked with microtonality from the early fifties onward, when he was studying with Harry Partch. He wrote a beautiful string quartet, but can also relate to more popular music. Like in the jazz based Ci-Git Satie, a sort of homage to Satie which he wrote for the Swingle Sisters. In Calamity Jane he also successfully integrates his microtonality into a more popular idiom. Take the piano: because of its just tuning it sounds very much like a bar room honky-tonk piano.
You based your opera on ‘The Collected works of Billy the Kid’ by Michael Ondaatje. What attracts you in this book?
Michael is a very intelligent writer, who wrote a standard book about the jazz scene in New Orleans, Coming Through Slaughter. We happen to be friends as well, and whenever I play in Toronto he comes to hear my concerts. I love his unconventional approach to literature, as in The Collected works of Billy the Kid.
It is not a straightforward novel – though some parts of it are – but rather a combination of narrative, research and poetry. Poetry written by Michael himself, but in the guise of Billy the Kid. His book is based on the story of Billy’s life and the imagined poetry from Billy himself, but it also incorporates newspaper clippings. It is very intricate, yet very cleverly done, in an original way. Jean Lacornerie, director of Théâtre de la Croix-Rousse made the libretto from the book.
In the programme book I read that Ondaatje’s language ‘screams’ to be set to music.
(Laughing out loud.) Well, it was definitely not screaming at me! It’s an interesting thought though, but screaming, no. I’d rather say the opposite: I know lots of texts that scream not to be set to music. But to be serious. This is my fifth opera, and the search for the right text often takes even longer than writing the notes themselves.
I spend a lot of time thinking about the text, reading it through and through, then I go ahead and write my score very quickly. It’s like a Zen calligrapher, who contemplates for hours on end, then sits down and writes what he has to write. I am not the type to make endless revisions, I have a strategy for the whole thing in my mind. As for Billy the Kid: I had already figured out the peaks and troughs, and knew where my music is going.
You did not use quite the same instrumentation as Ben Johnston’s. Was this your own choice?
Yes, I first worked with Gérard Lecointe in 1984, on my opera Medea at the Opera of Lyon. I threw out the entire violin section, replacing them by tuned percussion. Actually that is when Les Percussions Clavier de Lyon was founded by Gérard, so their base was a dramatic work. I have written a lot of music for their ensemble.
In Calamity Jane there’s one singer, piano/organ, violin and drums. The five members of Les Percussions Clavier de Lyon sometimes include the piano, so it was easy to fit that in. And the violin gave me even more possibilities melodically. So you have the one voice in the first part, Calamity Jane, and then in the second part, Billy the Kid, there are two voices, a male and a female one. Since the instrumentation is comparable, it feels like one big family. – Though I don’t use microtonality.
Was it your idea to compose for a blues singer and a lyrical soprano, Bertrand Belin and Claron McFadden?
We came up with that idea along the way. We decided to have a soprano who can sing both in a classical, and in a freer, nonclassical way. Jean suggested Claron McFadden, who is a remarkable singer. We worked on a preliminary sketch together, a piece of some ten minutes to make people interested in our project Billy the Kid.
You mean the fragment about Billy never using his left hand, only for shooting?
Indeed. I worked on this directly with Claron, she is extraordinary. She can sing impossibly difficult modern music, but also early music, with a very pure voice. Then again she can also sing like Sarah Vaughan, and moreover she is a great actress. So I wrote the part with her in mind. I knew what I could do, since I had been able to get acquainted with her voice in the flesh.
In December 2017 we rehearsed the first 7 out of 11 scenes in Lyon, where I got to work with Bertrand Belin as well. I had been to a concert of him and his rock band in the summer and we’d had drinks afterwards. He is a very intelligent, very funny, and very intuitive performer.
There was only one problem: he doesn’t read music. So he had to learn everything by heart, repeating his part over and over again, working with tapes, teachers and with Claron. Up to that rehearsal period I had only written solo parts for them, but in December I wrote a first duet. Their voices beautifully mingle together, so I wrote another duet. Turns out they enjoy them so much they have asked me to write a new piece for them.
What do you appreciate in Belin’s voice?
He is totally accurate, and has a quality in his voice that reminds me somewhat of Frank Sinatra. Because he doesn’t have to refer to the score he has his own phrasing, and he can’t go wrong. I love his timing, he’s completely internalized it in his physique. He also knows how to move on a stage, and understands what he is singing.
It struck me that he uses a handheld microphone, whereas McFadden is wearing a headset. Is this a direction in your score?
No, it is just a stage direction. However I do think he’s more comfortable with a handheld, because he’s used to singing rock music. And perhaps he also had an ear microphone, I’m not sure about that. The handheld microphone becomes a theatrical device as well. He always carries it with him, as if it were his pistol. At the very end, when he’s dead, Claron gently lays the microphone beside his body.
Calamity Jane/Billy is presented as a ‘Paradise Lost’. Yet it is full of killings, betrayal, it is full of blood.
Well, that may seem strange, but people often do think of the Wild West as a strangely ideal environment. I myself love Westerns such as High Noon and Rio Bravo, I think they are real masterpieces. They have a strong moral sense about them. There’s a powerful awareness of right and wrong, like in a morality play.
But your music is not at all violent.
Indeed, my portrait is partly affectionate, I look on Billy the Kid with some compassion. My score has a feeling of melancholy, the violence is rather more in the background. The violin has a continuous kind of counterpoint to all the other voices and the general, rather more meditative atmosphere.
The violin gives me the opportunity to create melodies that are not possible on the mallet instruments. There’s also this moment when the violin comes on stage, when in the libretto it says ‘Billy the Kid starts dancing’. This is based on one of the poems in the book. Claron sings:
Up with the curtain
down with your pants
William Bonney
is going to dance…The violinist jumps on stage and plays a frenzied solo, savagely turning about and stomping his feet. Quite a challenge for the performer, for he must not only act but also play his virtuoso pyrotechnics from memory. The music I wrote for this scene is entirely my own, but relates to fiddle tunes from the Wild West.
This wild solo breaks up the action and creates new energy. It’s a pivotal scene in the opera. Hereafter Billy the Kid is taken prisoner and, after his escape, finally killed by Pat Garret. Then the sadness sets in, the ‘Paradise Lost’ so to speak.
Calamity/Billy, Operadagen Rotterdam, 25 May
#BertrandBelin #BillyTheKid #CalamityJane #CalamityBilly #ClaronMcFadden #GavinBryars #GérardLecointe #JeanLacornerie #LesPercussionsClavierDeLyon #MuziektheaterTransparant #OperadagenRotterdam #ThéâtreDeLaCroixRousse
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Kennt zufällig jemand die Herkunft des "Übersetzen"-Links unter manchen Posts?
Stammt das von meiner Instanz, oder von der Instanz des Verfassers?
LibreTranslate für englischsprachige Texte lasse ich mir evtl. noch gefallen, aber hier war es unter einem deutschen Text, und die "deutsche Übersetzung" davon war leider einfach nur sinnentstellender Bullshit.
Das möchte ich gerne an die "richtige" Stelle weiter leiten. 🤔
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Kennt zufällig jemand die Herkunft des "Übersetzen"-Links unter manchen Posts?
Stammt das von meiner Instanz, oder von der Instanz des Verfassers?
LibreTranslate für englischsprachige Texte lasse ich mir evtl. noch gefallen, aber hier war es unter einem deutschen Text, und die "deutsche Übersetzung" davon war leider einfach nur sinnentstellender Bullshit.
Das möchte ich gerne an die "richtige" Stelle weiter leiten. 🤔
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Kennt zufällig jemand die Herkunft des "Übersetzen"-Links unter manchen Posts?
Stammt das von meiner Instanz, oder von der Instanz des Verfassers?
LibreTranslate für englischsprachige Texte lasse ich mir evtl. noch gefallen, aber hier war es unter einem deutschen Text, und die "deutsche Übersetzung" davon war leider einfach nur sinnentstellender Bullshit.
Das möchte ich gerne an die "richtige" Stelle weiter leiten. 🤔
-
Kennt zufällig jemand die Herkunft des "Übersetzen"-Links unter manchen Posts?
Stammt das von meiner Instanz, oder von der Instanz des Verfassers?
LibreTranslate für englischsprachige Texte lasse ich mir evtl. noch gefallen, aber hier war es unter einem deutschen Text, und die "deutsche Übersetzung" davon war leider einfach nur sinnentstellender Bullshit.
Das möchte ich gerne an die "richtige" Stelle weiter leiten. 🤔
-
Kennt zufällig jemand die Herkunft des "Übersetzen"-Links unter manchen Posts?
Stammt das von meiner Instanz, oder von der Instanz des Verfassers?
LibreTranslate für englischsprachige Texte lasse ich mir evtl. noch gefallen, aber hier war es unter einem deutschen Text, und die "deutsche Übersetzung" davon war leider einfach nur sinnentstellender Bullshit.
Das möchte ich gerne an die "richtige" Stelle weiter leiten. 🤔
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I'm presenting today at #balccon2k24, https://cfp.balccon.org/balccon2k24-2024/talk/PEGYDG/.
How many slides are too many? Asking for a friend...
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I'm presenting today at #balccon2k24, https://cfp.balccon.org/balccon2k24-2024/talk/PEGYDG/.
How many slides are too many? Asking for a friend...
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I'm presenting today at #balccon2k24, https://cfp.balccon.org/balccon2k24-2024/talk/PEGYDG/.
How many slides are too many? Asking for a friend...
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I'm presenting today at #balccon2k24, https://cfp.balccon.org/balccon2k24-2024/talk/PEGYDG/.
How many slides are too many? Asking for a friend...
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I'm pretty sure Texas wouldn't like this.
"Trump advisor Stephen Miller explained on a November podcast, the administration would federalize National Guard troops from Republican-dominated states and send them around the country to round people up, moving them to “large-scale staging grounds near the border, most likely in Texas,” that would serve as internment camps."
https://open.substack.com/pub/heathercoxrichardson/p/february-19-2024r=63j6s&utm_campaign=post&utm_medium=email -
I'm pretty sure Texas wouldn't like this.
"Trump advisor Stephen Miller explained on a November podcast, the administration would federalize National Guard troops from Republican-dominated states and send them around the country to round people up, moving them to “large-scale staging grounds near the border, most likely in Texas,” that would serve as internment camps."
https://open.substack.com/pub/heathercoxrichardson/p/february-19-2024r=63j6s&utm_campaign=post&utm_medium=email -
I'm pretty sure Texas wouldn't like this.
"Trump advisor Stephen Miller explained on a November podcast, the administration would federalize National Guard troops from Republican-dominated states and send them around the country to round people up, moving them to “large-scale staging grounds near the border, most likely in Texas,” that would serve as internment camps."
https://open.substack.com/pub/heathercoxrichardson/p/february-19-2024r=63j6s&utm_campaign=post&utm_medium=email -
I'm pretty sure Texas wouldn't like this.
"Trump advisor Stephen Miller explained on a November podcast, the administration would federalize National Guard troops from Republican-dominated states and send them around the country to round people up, moving them to “large-scale staging grounds near the border, most likely in Texas,” that would serve as internment camps."
https://open.substack.com/pub/heathercoxrichardson/p/february-19-2024r=63j6s&utm_campaign=post&utm_medium=email -
I’m a Salisbury City councillor with special interests in #sustainableliving, #activetravel and RCT evidence-based #nutrition. I believe we should be moving away from car-centric living and embracing more community-focussed #multimodal #mobility and reviewing government dietary recommendations which after more than 40 years show links to #MetabolicDiseases like #t2diabetes #CVD #alzheimers and #nafld. #cycling #ebikes #parkandride #publictransport #lchf #ketogenicdiet #publichealth
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I’m a Salisbury City councillor with special interests in #sustainableliving, #activetravel and RCT evidence-based #nutrition. I believe we should be moving away from car-centric living and embracing more community-focussed #multimodal #mobility and reviewing government dietary recommendations which after more than 40 years show links to #MetabolicDiseases like #t2diabetes #CVD #alzheimers and #nafld. #cycling #ebikes #parkandride #publictransport #lchf #ketogenicdiet #publichealth
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I'm working with @YVTakingPart on my play #ThrownByGiants. It will be showcased at @youngvictheatre Jan 13th for industry -
if you're industry let me know if you'd like a ticket.#Comedy #FrankieBoyle #newworldorder #entertainment #televisionproduction #performingarts #artsandentertainment #standupcomedy #cabaret #vanilla #bbc2 #media #quotes #womeninjournalism #youtube #instagram #fyp #girlsinfilm #love #viral #beautiful #Writer #Networking
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I'm working with @YVTakingPart on my play #ThrownByGiants. It will be showcased at @youngvictheatre Jan 13th for industry -
if you're industry let me know if you'd like a ticket.#Comedy #FrankieBoyle #newworldorder #entertainment #televisionproduction #performingarts #artsandentertainment #standupcomedy #cabaret #vanilla #bbc2 #media #quotes #womeninjournalism #youtube #instagram #fyp #girlsinfilm #love #viral #beautiful #Writer #Networking
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I'm working with @YVTakingPart on my play #ThrownByGiants. It will be showcased at @youngvictheatre Jan 13th for industry -
if you're industry let me know if you'd like a ticket.#Comedy #FrankieBoyle #newworldorder #entertainment #televisionproduction #performingarts #artsandentertainment #standupcomedy #cabaret #vanilla #bbc2 #media #quotes #womeninjournalism #youtube #instagram #fyp #girlsinfilm #love #viral #beautiful #Writer #Networking
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I'm working with @YVTakingPart on my play #ThrownByGiants. It will be showcased at @youngvictheatre Jan 13th for industry -
if you're industry let me know if you'd like a ticket.#Comedy #FrankieBoyle #newworldorder #entertainment #televisionproduction #performingarts #artsandentertainment #standupcomedy #cabaret #vanilla #bbc2 #media #quotes #womeninjournalism #youtube #instagram #fyp #girlsinfilm #love #viral #beautiful #Writer #Networking
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This Sunday I'm running the #Sheffield10K in aid of the Trussell Trust. If you'd like to donate you can do so HERE:
https://www.justgiving.com/page/robinlaroca-1692384165981
THANK YOU! #TrussellTrust
