Of course, he also follows Dominic Thiem’s resurgence and keeps his fingers crossed for the ex-US Open winner. “I’m happy when he improves, because overall it’s better for me and for Austrian tennis.” The past few weeks have not gone so well for him on the court. “It’s good to win once more. I hope I can take the boost into the next round.” Rodionov, who has been coached by German Richard Waite for regarding a year, will be an outsider once morest Bautista Agut. “Bautista on clay will certainly not be comfortable, I will certainly suffer a lot, but I will be ready.”
Tag:
Austria
July 25, 2022
The apotheosis of an apostate. The slaughter of a political scapegoat. The final chords of a desperate dream, smothered in the flames of the pyre: Arthur Honegger’s oratorio “Jeanne d’Arc au bûcher” was on the program at the Salzburg Festival on Sunday. Despite all the musical artistry – met with thunderous applause from the audience – the question remains: Does today need a religious fundamentalist war heroine like Joan of Arc?
The backdrop for Jeanne’s absurd show trial might hardly have been chosen more appropriately. The sharp-edged arcades protruded like shadows from the rugged rock on the back wall of the stage and gave the spectacle, which oscillated between cynicism and slapstick, a gruesome character, accompanied monumentally by the SWR symphony orchestra. The singing of the two choirs, sometimes feverishly excited and shrill trembling, sometimes menacingly whispering, rose up to the stone boxes in the bare rock. Around barefoot Jeanne, wrapped in a simple linen dress, played emotionally by Irène Jacob, 1991 Best Actress in Cannes.
Under the sovereign musical direction of Maxime Pascal, the sonorous voices of the theater children’s choir and its stylistically versatile counterpart from the Bavarian Radio fluttered through the stone hall like a colorful flock of birds. Sometimes in a disciplined formation as a powerful-voiced phalanx, sometimes in a diffuse confusion of breathless indignation. And once more and once more the rising scraps of words sank back onto the stage, cooled down, like feathers from Jeanne’s delusions. Pens with which heretical scholars scribbled a mendacious death sentence in the book from which Frère Dominique (Jérôme Kircher) reads to the dismayed Jeanne in the first scenes.
Honegger’s historical model failed following glorious victories once morest the enemy English in the 15th century due to profane megalomania fed by spiritual extravagance. Even following her death at the stake, Joan of Arc remained a highly political figure. Posthumously pardoned by the Church in the Middle Ages, she was only canonized following the First World War in times of surging nationalism. During the occupation of France by the Nazis, processed in the dark prologue of Paul Claudel’s libretto, the victorious maiden finally advanced to become a mystical national symbol.
Just as multifaceted and controversial as the main character, Honegger’s musical repertoire is designed in an unconventional spectrum, ranging from folkloric songs to elements of sacred vocal music and erratic jazz to military-style march fragments. A demanding potpourri, which the protagonists, with their great facial expressions and voices, around Elena Tsallagova (Virgin Maria), Mélissa Petit (Marguerite), Martina Belli (Catherine) and Marc Mauillon (Le Clerc) brought to the stage. Damien Bigourdan as the pretentious magistrate Porcus (pig) and Emilien Diard-Detoeuf as the whinnying donkey filled the insane grotesque around the court, which is decorated with allegorical animal figures, with humorous and elegant life.
Iconic fabric can be thankless. And Joan of Arc is always iconic as a canonical hagiography. Honegger, however, was neither intimidated nor carried away to iconoclasm. This Jeanne is different from her martial, sometimes chauvinistically appropriated historical role model. Paul Claudel reinterpreted them, carefully placing their emancipation in the foreground. It is the psychogram of a young woman who rebels once morest encrusted conservatism and remains true to her ideals. Scenically reinforced by the Salzburg director’s trick of confronting Jeanne with her childlike image in the meaningful Trimazô. Accompanied and encouraged by the programmatic call “Go your own way”, which became a recurring leitmotif, this Jeanne is not a war heroine, but an anti-heroine – maybe even an anti-war heroine. And this present needs that more urgently than ever.
(SERVICE – “Jeanne d’Arc au bûcher” by Arthur Honegger as part of the Spiritual Opening at the Salzburger Festspiele. Libretto by Paul Claudel. SWR Symphony Orchestra, Salzburger Festspiele und Theater Kinderchor, Chor des Bayerischen Rundfunks. Conductor: Maxime Pascal, Choir study: Howard Arman and Wolfgang Götz. With Jeanne d’Arc – Irène Jacob, Frère Dominique – Jérôme Kircher, La Vierge – Elena Tsallagova, Marguerite – Mélissa Petit, Catherine – Martina Belli, Porcus – Damien Bigourdan, Le Clerc – Marc Mauillon, Une Voix /Héraut/Un Paysan – Damien Pass, L’âne – Emilien Diard-Detoeuf).
Kuzmin begins preparing the “King” with a “strict program”
written by Alexandra Hartman Editor-in-Chief
Sharjah (Union)
Romanian Cosmin, the Sharjah football team coach, developed a strict and strong training program, which began to be implemented and continues for 53 days in the external camp in Austria in preparation for the new season, following the team arrived directly at the residence in the Austrian city of Bad Luipersdorf, which is located 110 kilometers south of the capital. Vienna.
This training phase is the second of the team’s preparation program for the 2022-2023 sports season, as the program extends for 53 days, following the team completed the first phase, which included a medical examination and then internal training at Sharjah Stadium under the supervision of Romanian coach Cosmin Olario and his assistant staff, and the mission includes 26 players, along with the technical and medical staff, and team manager Ahmed Mubarak Al-Junaibi.
The first period of the outdoor camp in Austria is scheduled to last from August 18 to 4, where the team will move to the second period of the outdoor camp in Bad Waltersdorf, and the team will play 3 friendly experiences in each stage, before returning to Sharjah on August 16.
July 16, 2022
On Friday in Vienna, The Rolling Stones underlined that they are still the greatest following 60 years on stage with what is perhaps their best concert in this city so far. In front of more than 50,000 enthusiastic fans – even 56,000 were rumored – Mick Jagger and Co. presented themselves as a perfectly coordinated, energetic band that lived up to their status as rock legends. It was a two-hour triumphal procession to the last note of “Satisfaction”.
Bilderbuch made a good impression as a heater in the Ernst-Happel-Stadion despite the lousy sound, let the guitars howl loudly and were able to enthrall the audience with the playful “Spliff” or the driving “Maschin”. Vocalist/guitarist Maurice Ernst made a solid frontman who knew how to hold his own away from the regular audience or in front of such a large crowd. Hats off!
Of course, young and old had come because of the Stones, who, following a standing ovation from Charlie Watts, started with “Street Fighting Man” on the video wall and disabused all those who had joked regarding an “elderly evening” before the guest performance . Jagger, Keith Richards and Ron Wood showed no signs of tiring at 78 and 75 years respectively, on the contrary, with so much power as on this “Sixty Tour” one should not speculate with a “possibly last time”.
Of course, the Stones brought their big hits with them – from “Let’s Spend The Night Together” and “Tumbling Dice” at the beginning, to the inevitable “Miss You” in the middle, to “Start Me Up” and “Jumpin’ Jack Flash” towards the end , embedded in a sound that is almost clear for the Ernst Happel Stadium, every sound mixer’s nightmare. The Bob Dylan cover “Like A Rolling Stone” was the surprise in the set list, the ballad “Wild Horses” was performed as a fan request.
“Last night I was at the Schweizerhaus,” reported Jagger. He ate stilts and on the way home he was also stopped “at the sausage stand”. “My diet is broken,” the singer grinned and still danced in top condition, both physically and vocally, permanently on the catwalks. The only break he was granted was a double vocal performance (“Slipping Away”, “Happy”) by Keith Richards, introduced by Jagger as “my Haberer”.
Speaking of Richards: Together with Wood (Jagger: “the Picasso of the Prater”) he unleashed a guitar thunderstorm that drove through marrow and bone in a positive sense, the solos in “Sympathy For The Devil” and “Midnight Rambler” were outstanding, the last one gloomy, evil and staged aggressively. Which drive drummer Steve Jordan, who took Watts’ place, brought into the group and how congenially he forms the rhythm machine with bassist Darry Jones was shown in “Paint It Black” – it mightn’t be better.
The Stones opened the encores with “You Can’t Always Get What You Want”, accompanied by a children’s choir from Ukraine. And then “Satisfaction” – satisfied, grinning faces might be seen on and in front of the stage. It was a musical spectacle that didn’t need any pyros or other gimmicks, that lived from the songs and the performance, just rock and roll in all its facets. At 60, The Rolling Stones are the masters of this profession who have fallen into the fountain of youth.