Soon the number FIVE
Already to the sale the number FOUR

It ask for route mail in admin@revistaatticus.es.

last number

Unburden the last number.  Here!

He dances The power to be Thelma and Louise

He dances The power to be Thelma and Louise

«There where the freedom absence makes feel, the happiness cannot exist»

                                                                    FLORA TRISTAN

 

The power to be Thelma and Louise is born of the union of two friends nowadays.

Two friends who in the premiere of the movie in the year 91 were teacher and pupil.

20 difference years and a big passion. Ways of formation and different adventures that join to give life again to Thelma and Louise, 25 years after its premiere.

Lorraine Zatarain in the role of Louise and Lola Eiffel getting into Thelma's universe.

wimg_6208

We penetrate into a terrero of feminist struggle citing as an example these two personages who marked a generation in the 90s. This spectacle is a retrospective of different women of the history who being Thelma turned into Louise or simply they were always Louise.

Two ballerinas, two personages who were interlacing its lives, where the solidarity, the love, the complicity, the laughs, the cries, were part of this risky bet.

Women like Frida Kahlo, Camille Claudel, Margaret Keane, Katharina Von Bora … Women like Cleopatra, will Unsay Gandhi, Eric Brokovich, Rosa Parks … Lived through its woman's condition differently. They all were in some moment Thelma and in some moments Louise. Or perhaps they could never go out of one of two personages.

The evolution of the obtained freedoms and the rights even not achieved nowadays, they will be seen in every movement, in the choreographic interpretation.

There is a spectacle where the woman does one an analysis of her itself trying to recover the dignity that loses sometimes for love, for work, for the society, for the need to behave like a mother frequently without really it being,

It is a hard way, of self-analysis, of interpretive and choreographic search, a real challenge. We want that it is a spectacle that was not making anybody indifferent.

At present ….

We are in creation period, put in the room 1 of the ship 2 of the Laboratory of the Scenic Arts. Not every day they go out well and not every day the created costs, but this is the nice of our profession. The patience is the key of the success, they say that: no?

We have from October artistic residence in the LAVA.

In our project there collaborate Alfonso Pena de Kull d'Sac (drama of the work) and Rafael López of Cabaret Circus/Escuela of Circus of Valladolid.

wimg_5526 wimg_5563wimg_612284 wimg_5767

Magazine Atticus

you photograph: Chuchi War

 

Bookmark

Memories and portraits of Don Quixote in the Theater Zorrilla

We are celebrating this year 400 years of the death of Miguel de Cervantes and have done our small homage to him, speaking about the Quixotic, its most important and universal personage and the one that better represents him.

wimg_7434 wimg_7528 wimg_7659

 

Let's remember that when Cervantes writes the Second Part of the Quixotic - that is to that the work has referred, because it is the one that drives to its death - ten years have happened since he published the First Part and he is a sick, poor, unsuccessful man in the theater and much fought by other writers of its time, who have considered a less book to be the First Part of the Quixotic, in spite of its reputation. It has been five times in the jail and five years I captivate in Algiers. How we see, and as he says to us in its writings, it is much more expert in misfortunes than in poems.

But our big writer turns all these difficulties into the best literature of all the times. He says to us, in her, that there are things that the destination can take from us, the gods or the magicians, but that there are others, as there are the effort and the fortitude to face us to the adversities, which nobody can take from us.

This is the most important thing that Cervantes invents from its humanism, the way of facing the tragedy, the defeat, and the not realized sleep of this life. Hence the challenging attitude of the Quixotic, on having taken its spear and to go forward, and if they destroy us repeatedly, they will take the luck from us, but the effort and the fortitude is impossible.

The work treats about this Second Part of the Quixotic because there is a parallelism between the death of don Quijote, in the novel, and of Cervantes, in the real life, happened only one year after this one is published. And it does it from some of its personages, one of its biggest contributions, since it creates more than fifty splendid portraits in this Second Part, with which it gives us different visions and perspectives of the history of Spain and of the poetical and philosophical evolution of the thought in this moment, which before Cervantes had not been formulated by the precision and wealth that our writer does it on having painted them with its pen, that, as he will say to us in its Quixotic, it is the language of the soul.

Since there goes out of its house in this one its third and last exit, with which this Second Part begins, until he dies, don Quijote goes meeting this series of representative personages, some of which go out to scene and speak to us about the memories and portraits that they keep of him. We meet, so, don Quijote - and, by implication to Cervantes - therefore they say to us about him those who met him and treated in this last stage of its life.

 

José Luis Alonso de Santos [i]

[i] José Luis Alonso de Santos is an author of more than fifty stage plays, being one of the playwrights most represented at present. It has received along its career a sinnúmero of awards between which Castile and León de las Letras and Max emphasize the National prize of Theater, the Award. At present he is a President of the Academy of Scenic Arts of Spain.

siete-img_7893

 

The work Memory and portraits of Don Quixote was represented in the Theater Zorrilla last November 19, like part of the activities for the Day of the Province. It was directed by its author and by the Cuban playwright Luis Enrique Valdés Duarte.

Magazine Aticus

you photograph: Chuchi War

 

The Point! He dances Theater in the LAVA

you photograph: Chuchi War

The Olympus is not here

The presence of the sport in the society is undoubtedly every time major. The sportsmen are idols with a wider and wider presence, they are the new gods of the Olympus, but often not for its model conduct …

In The Olympus it is not here, Fernando Lima tackles this world across the dance and the urban languages, as the break dances and the hip hop, which they have stopped being material exclusively urban to collaborate with other creative expressions.

A work for interpreters who are capable of printing on its dance a solemn, lyric stamp, which breaks with dramatic winks. A proposal that is based on the sincere investigation that looks inwards, where the freshness, the irony and the rebelliousness of the street dance put themselves to the service of the contemporary dance.

 

Direction, original idea and choreography: Fernando Lima
Interpreters: Daniel Gómez
Sergio Fuentes
Manuel Acuña
Álvaro Silvag
Original music and sonorous creation: Depipió
Lighting design: Diego Cousido

www.electricacultura.com /

 wimg_6247

wimg_6644 wimg_6638 wimg_6620 wimg_6610 wimg_6524 wimg_6459 wimg_6456

The Point! he forms in Seville in 1997 giving continuity to the work that the choreographer, actor and cultural agent Fernando Lima has developing in Spain from 1992. The company adopts a personal language that is born of the need to mix different artistic disciplines. To create choreographic scores with our own routine character like backdrop for the discussions and reflections that we raise, since what we suggest is only the confrontation with a part of us ourselves, tells the choreographer.

The design of its pieces sails in an oneiric ambience where elements very near to us gain a lyric dimension loaded with simbología. The work dramatúrgico, like search of a dialogue that serves to tune in and to communicate, is the starting point for the creation of its spectacles.

Magazine Atticus

you photograph: Chuchi War


Reykjavik of Juan Mayorga in the House of the Arts of Lagoon of Duero (Valladolid)

 you photograph: Chuchi War

Bailén and Waterloo (that have taken these names of Napoleonic defeats) reconstruct before a boy the big duel of Reykjavik: the championship of the world of chess that there disputed, in full Cold War, Soviet Boris Spasski and the American Bobby Fischer.
Bailén and Waterloo represent not only Boris and Bobby, but also many others that moved pieces in that board.
It is not the first time that Waterloo and Bailén do something like that, but they had never done it with so many passion. Because for what today they look before this missed boy is not only to understand finally what happened really in Reykjavik, what was really in game in Reykjavik, who there were really those men who measured themselves in Reykjavik. Today, also, Waterloo and Bailén look for a heir.
Reykjavik is a work on the Cold War, on the communism, on the capitalism, on the chess, on the theatrical game and on men who live through the lives of others.

Juan Mayorga

We leave the enclace to you to a pair of criticism of this brilliant work of which we were witnesses thanks to our photographer Chuchi Guerra

The Country
Theater to Theater

wimg_2085 wimg_2103 wimg_2080 wimg_2043 wimg_2039 wimg_1388

Magazine Atticus

 


Altar Malikian in 25 International Week of the Music in Medina of the Field (Valladolid)

 you photograph: Chuchi War

The curriculum of Altar Malikian is simple and smoothly …: impressive!

It has taken part like soloist invited in more than forty countries and collaborated in concerts of violin and band with the most prestigious directors. It has touched in the main bands of Spain, and even from 2013 it has its own band «The band in the Roof» that it presented in the Spanish Theater of Madrid. A project that he leads from its position of the First violin - director and that tries to come out beyond the aspect merely musically to offer a fresh alternative to the public in general and to try to liberate to the classical music the corset from being something elitist.

wimg_7812_fhdr

It has received innumerable awards in numerous contests of world prestige as well as awards both in the musical composition and from the scenic arts or to the best álbumes of new musicians or of interpreter of classical music. Also it has taken part in the sound-tracks composition. One of the above mentioned was Birds of role (2010, directed by Emilio Aragón). Ride covering the stages of half a world with spectacles like 15 or like PaGAGnini.

Its worry has led him to investigating in the different music that the man is capable of interpreting. From its cause Armenian (and also Lebanese), happening for the cultures of the Middle East ((both Arab and Jewish) up to the Central European, Argentine one or the proper Spaniard (with big incursion in the Fleming).

This is the extract of the spectacle that it developed throughout more than two hours in the Municipal Auditorium of Medina of the Field, inside 25 International Week of the Music. A revision for the different cultures for which Altar Malikian has drunk and, to tenor of the seen and heard, he has enjoyed along its life. From these roots armeniolibanesas it jumped to the central Europe, to Germany, where he was making the living without scarcely knowing the language; later he traveled to London and hence to Spain (where it discovered in addition to the Fleming, the Iberian ham). In the concert it was accompanied by the Venezuelan Humberto Armas (Viola), of the person from Madrid Jorge Guillén del Castillo (Violin), of the Indian Nantha Kumar (Indian stage), of Héctor Turk (percussion), of Tania Bernaez Abad of Madrid (Double bass) and of a young cellist (I do not regret knowing its name).

Altar popped in gently, how a feline, for the stairs of the central corridor. With a light touch with the finger (pizzicato) of the ropes of its violin, it was approaching little to the stage, simultaneously that was doing it towards the heart of the public assistant. It raised to the dais simultaneously that the rest of its team was taking positions with these light touches. And it came the moment in which it gave a jump and its music turned (like the spectacle) frantically. It was alternating these soft, slow chords with these other full houses of rhythm, of excitement, of an overflowing happiness as it was possible to observe in the faces of the musicians.

wimg_7653-1

Altar Malikian is an authentic showman. Every topic was preceded of a speech. With a vocecita (how can body extract so much energy of this small) it us was penetrating in biographical aspects full of irony. He spoke to us about the experience of that one traveled when he was only an adolescent to Germany, or how it met Boy George and was dismissed for not coming to the concert that had to give because it saw the Radiohead performance. Also it told us its step along Spain. Place that changed the life to him on having known the Iberian ham («I never understood how you can eat this so rich thing with an insignificant thing that looks like a bread – peaks -»). The laughs passed to the explanation of which in the concert there is Iberian ham (them big teachers of the classical music like Bach, Vivaldi, Flaw) together with "peaks" (its own compositions).

wimg_9085

The spectacle was a sonorous trip. It alternated these big compositions of the classic teachers with topics of Radiohead, of Leed Zepelín or of Paco de Lucía (versionado the outstanding figure Zyriab). It even made 25 a wink to own International Week of Music of Medina of the Field releasing like world novelty a Rhapsody medinadelcampo number 3.

One of the moments that caused major guffaws between the public is when the violinist confessed its sympathies for John Travolta «I was combing like him, and was walking like him in Saturday's night fever, this way …» to pass to the topic of the sound-track of Pulp Fiction of Tarantino interpreted by Uma Thurman and the proper Travolta. A Greek topic that goes for title Misirlou.

Altar Malikian is a type full of humor that the music of very serious form takes to break the clichés that still today maintain it somewhat encorsetada. He puts all its ardor, all its heart in preventing from being the people that it is possible to make a fuss of seeing him touching (like the gods) the violin without being not even a calm minute with the feet in the soil. A type, on the other hand, that proves to be compromised with the world in which he has had him to live, and which has offered him this another less kind face living very closely through the genocide of the Armenian people (in 1915 they were annihilated nearly one million and today scarcely it is recognized) or recent genocidios as Sarajevo, the Tibet or Syria. One of its last topics was a 1915 dedicated to its Armenian village, to this deplorable genocide and that was one of the most emotive topics and in the one that revealed the public who also can move turning as if he was an authentic dervish. Altar Malikian offered an eclectic, varied concert but that with the innovation has lost not even a quality apex. He interpreted current works without complex alternating with all the possible musical genres. A vibrant and emotive spectacle that closed (with a dedicated public) with an aria of Johannes Sebastian Bach with Altar Malikian going down the stage and rising for the stairs up to half of the corridor.

wimg_9174

wimg_9532_fhdr

Only we can only show our admiration to those that make this type of concert possible integrated in a stable programming as it is the International Week of the Music that in this year, 2016, has reached some wonderfully 25 years. From here we admire that a population as Medina of the Field (Valladolid) has this programming with a modest budget. We imagine that a lot of of it expires it is had by its director (and of the Week of the Movies) Emiliano Allende Zapatero. Congratulations and …: long life to the International Week of Music and of Movies!

«A lot of peace, a lot of love and a lot of, a lot of health». Thank you It Plows Malikian and to all its team.

Square Luisjo

Magazine Atticus

A beautiful memory

Ejemplar Revista Atticus dedicado por Ara Malikian

Model Magazine Atticus dedicated by Altar Malikian

Ara Malikian y Chuchi Guerra

Altar Malikian and Chuchi Guerra

 

Ara Malikian y Luisjo Cuadrado

Altar Malikian and Luisjo Cuadrado


 Page 1 of 135    1  2   3   4   5  »  ...    Last » 
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Magazine Atticus

Soon the number FIVE
Already to the sale the number FOUR

It ask for route mail in admin@revistaatticus.es.

last number

Unburden the last number.  Here!

He dances The power to be Thelma and Louise

He dances The power to be Thelma and Louise

«There where the freedom absence makes feel, the happiness cannot exist»

                                                                    FLORA TRISTAN

 

The power to be Thelma and Louise is born of the union of two friends nowadays.

Two friends who in the premiere of the movie in the year 91 were teacher and pupil.

20 difference years and a big passion. Ways of formation and different adventures that join to give life again to Thelma and Louise, 25 years after its premiere.

Lorraine Zatarain in the role of Louise and Lola Eiffel getting into Thelma's universe.

wimg_6208

We penetrate into a terrero of feminist struggle citing as an example these two personages who marked a generation in the 90s. This spectacle is a retrospective of different women of the history who being Thelma turned into Louise or simply they were always Louise.

Two ballerinas, two personages who were interlacing its lives, where the solidarity, the love, the complicity, the laughs, the cries, were part of this risky bet.

Women like Frida Kahlo, Camille Claudel, Margaret Keane, Katharina Von Bora … Women like Cleopatra, will Unsay Gandhi, Eric Brokovich, Rosa Parks … Lived through its woman's condition differently. They all were in some moment Thelma and in some moments Louise. Or perhaps they could never go out of one of two personages.

The evolution of the obtained freedoms and the rights even not achieved nowadays, they will be seen in every movement, in the choreographic interpretation.

There is a spectacle where the woman does one an analysis of her itself trying to recover the dignity that loses sometimes for love, for work, for the society, for the need to behave like a mother frequently without really it being,

It is a hard way, of self-analysis, of interpretive and choreographic search, a real challenge. We want that it is a spectacle that was not making anybody indifferent.

At present ….

We are in creation period, put in the room 1 of the ship 2 of the Laboratory of the Scenic Arts. Not every day they go out well and not every day the created costs, but this is the nice of our profession. The patience is the key of the success, they say that: no?

We have from October artistic residence in the LAVA.

In our project there collaborate Alfonso Pena de Kull d'Sac (drama of the work) and Rafael López of Cabaret Circus/Escuela of Circus of Valladolid.

wimg_5526 wimg_5563wimg_612284 wimg_5767

Magazine Atticus

you photograph: Chuchi War

 

Bookmark

Memories and portraits of Don Quixote in the Theater Zorrilla

We are celebrating this year 400 years of the death of Miguel de Cervantes and have done our small homage to him, speaking about the Quixotic, its most important and universal personage and the one that better represents him.

wimg_7434 wimg_7528 wimg_7659

 

Let's remember that when Cervantes writes the Second Part of the Quixotic - that is to that the work has referred, because it is the one that drives to its death - ten years have happened since he published the First Part and he is a sick, poor, unsuccessful man in the theater and much fought by other writers of its time, who have considered a less book to be the First Part of the Quixotic, in spite of its reputation. It has been five times in the jail and five years I captivate in Algiers. How we see, and as he says to us in its writings, it is much more expert in misfortunes than in poems.

But our big writer turns all these difficulties into the best literature of all the times. He says to us, in her, that there are things that the destination can take from us, the gods or the magicians, but that there are others, as there are the effort and the fortitude to face us to the adversities, which nobody can take from us.

This is the most important thing that Cervantes invents from its humanism, the way of facing the tragedy, the defeat, and the not realized sleep of this life. Hence the challenging attitude of the Quixotic, on having taken its spear and to go forward, and if they destroy us repeatedly, they will take the luck from us, but the effort and the fortitude is impossible.

The work treats about this Second Part of the Quixotic because there is a parallelism between the death of don Quijote, in the novel, and of Cervantes, in the real life, happened only one year after this one is published. And it does it from some of its personages, one of its biggest contributions, since it creates more than fifty splendid portraits in this Second Part, with which it gives us different visions and perspectives of the history of Spain and of the poetical and philosophical evolution of the thought in this moment, which before Cervantes had not been formulated by the precision and wealth that our writer does it on having painted them with its pen, that, as he will say to us in its Quixotic, it is the language of the soul.

Since there goes out of its house in this one its third and last exit, with which this Second Part begins, until he dies, don Quijote goes meeting this series of representative personages, some of which go out to scene and speak to us about the memories and portraits that they keep of him. We meet, so, don Quijote - and, by implication to Cervantes - therefore they say to us about him those who met him and treated in this last stage of its life.

 

José Luis Alonso de Santos [i]

[i] José Luis Alonso de Santos is an author of more than fifty stage plays, being one of the playwrights most represented at present. It has received along its career a sinnúmero of awards between which Castile and León de las Letras and Max emphasize the National prize of Theater, the Award. At present he is a President of the Academy of Scenic Arts of Spain.

siete-img_7893

 

The work Memory and portraits of Don Quixote was represented in the Theater Zorrilla last November 19, like part of the activities for the Day of the Province. It was directed by its author and by the Cuban playwright Luis Enrique Valdés Duarte.

Magazine Aticus

you photograph: Chuchi War

 

The Point! He dances Theater in the LAVA

you photograph: Chuchi War

The Olympus is not here

The presence of the sport in the society is undoubtedly every time major. The sportsmen are idols with a wider and wider presence, they are the new gods of the Olympus, but often not for its model conduct …

In The Olympus it is not here, Fernando Lima tackles this world across the dance and the urban languages, as the break dances and the hip hop, which they have stopped being material exclusively urban to collaborate with other creative expressions.

A work for interpreters who are capable of printing on its dance a solemn, lyric stamp, which breaks with dramatic winks. A proposal that is based on the sincere investigation that looks inwards, where the freshness, the irony and the rebelliousness of the street dance put themselves to the service of the contemporary dance.

 

Direction, original idea and choreography: Fernando Lima
Interpreters: Daniel Gómez
Sergio Fuentes
Manuel Acuña
Álvaro Silvag
Original music and sonorous creation: Depipió
Lighting design: Diego Cousido

www.electricacultura.com /

 wimg_6247

wimg_6644 wimg_6638 wimg_6620 wimg_6610 wimg_6524 wimg_6459 wimg_6456

The Point! he forms in Seville in 1997 giving continuity to the work that the choreographer, actor and cultural agent Fernando Lima has developing in Spain from 1992. The company adopts a personal language that is born of the need to mix different artistic disciplines. To create choreographic scores with our own routine character like backdrop for the discussions and reflections that we raise, since what we suggest is only the confrontation with a part of us ourselves, tells the choreographer.

The design of its pieces sails in an oneiric ambience where elements very near to us gain a lyric dimension loaded with simbología. The work dramatúrgico, like search of a dialogue that serves to tune in and to communicate, is the starting point for the creation of its spectacles.

Magazine Atticus

you photograph: Chuchi War


Reykjavik of Juan Mayorga in the House of the Arts of Lagoon of Duero (Valladolid)

 you photograph: Chuchi War

Bailén and Waterloo (that have taken these names of Napoleonic defeats) reconstruct before a boy the big duel of Reykjavik: the championship of the world of chess that there disputed, in full Cold War, Soviet Boris Spasski and the American Bobby Fischer.
Bailén and Waterloo represent not only Boris and Bobby, but also many others that moved pieces in that board.
It is not the first time that Waterloo and Bailén do something like that, but they had never done it with so many passion. Because for what today they look before this missed boy is not only to understand finally what happened really in Reykjavik, what was really in game in Reykjavik, who there were really those men who measured themselves in Reykjavik. Today, also, Waterloo and Bailén look for a heir.
Reykjavik is a work on the Cold War, on the communism, on the capitalism, on the chess, on the theatrical game and on men who live through the lives of others.

Juan Mayorga

We leave the enclace to you to a pair of criticism of this brilliant work of which we were witnesses thanks to our photographer Chuchi Guerra

The Country
Theater to Theater

wimg_2085 wimg_2103 wimg_2080 wimg_2043 wimg_2039 wimg_1388

Magazine Atticus

 


Altar Malikian in 25 International Week of the Music in Medina of the Field (Valladolid)

 you photograph: Chuchi War

The curriculum of Altar Malikian is simple and smoothly …: impressive!

It has taken part like soloist invited in more than forty countries and collaborated in concerts of violin and band with the most prestigious directors. It has touched in the main bands of Spain, and even from 2013 it has its own band «The band in the Roof» that it presented in the Spanish Theater of Madrid. A project that he leads from its position of the First violin - director and that tries to come out beyond the aspect merely musically to offer a fresh alternative to the public in general and to try to liberate to the classical music the corset from being something elitist.

wimg_7812_fhdr

It has received innumerable awards in numerous contests of world prestige as well as awards both in the musical composition and from the scenic arts or to the best álbumes of new musicians or of interpreter of classical music. Also it has taken part in the sound-tracks composition. One of the above mentioned was Birds of role (2010, directed by Emilio Aragón). Ride covering the stages of half a world with spectacles like 15 or like PaGAGnini.

Its worry has led him to investigating in the different music that the man is capable of interpreting. From its cause Armenian (and also Lebanese), happening for the cultures of the Middle East ((both Arab and Jewish) up to the Central European, Argentine one or the proper Spaniard (with big incursion in the Fleming).

This is the extract of the spectacle that it developed throughout more than two hours in the Municipal Auditorium of Medina of the Field, inside 25 International Week of the Music. A revision for the different cultures for which Altar Malikian has drunk and, to tenor of the seen and heard, he has enjoyed along its life. From these roots armeniolibanesas it jumped to the central Europe, to Germany, where he was making the living without scarcely knowing the language; later he traveled to London and hence to Spain (where it discovered in addition to the Fleming, the Iberian ham). In the concert it was accompanied by the Venezuelan Humberto Armas (Viola), of the person from Madrid Jorge Guillén del Castillo (Violin), of the Indian Nantha Kumar (Indian stage), of Héctor Turk (percussion), of Tania Bernaez Abad of Madrid (Double bass) and of a young cellist (I do not regret knowing its name).

Altar popped in gently, how a feline, for the stairs of the central corridor. With a light touch with the finger (pizzicato) of the ropes of its violin, it was approaching little to the stage, simultaneously that was doing it towards the heart of the public assistant. It raised to the dais simultaneously that the rest of its team was taking positions with these light touches. And it came the moment in which it gave a jump and its music turned (like the spectacle) frantically. It was alternating these soft, slow chords with these other full houses of rhythm, of excitement, of an overflowing happiness as it was possible to observe in the faces of the musicians.

wimg_7653-1

Altar Malikian is an authentic showman. Every topic was preceded of a speech. With a vocecita (how can body extract so much energy of this small) it us was penetrating in biographical aspects full of irony. He spoke to us about the experience of that one traveled when he was only an adolescent to Germany, or how it met Boy George and was dismissed for not coming to the concert that had to give because it saw the Radiohead performance. Also it told us its step along Spain. Place that changed the life to him on having known the Iberian ham («I never understood how you can eat this so rich thing with an insignificant thing that looks like a bread – peaks -»). The laughs passed to the explanation of which in the concert there is Iberian ham (them big teachers of the classical music like Bach, Vivaldi, Flaw) together with "peaks" (its own compositions).

wimg_9085

The spectacle was a sonorous trip. It alternated these big compositions of the classic teachers with topics of Radiohead, of Leed Zepelín or of Paco de Lucía (versionado the outstanding figure Zyriab). It even made 25 a wink to own International Week of Music of Medina of the Field releasing like world novelty a Rhapsody medinadelcampo number 3.

One of the moments that caused major guffaws between the public is when the violinist confessed its sympathies for John Travolta «I was combing like him, and was walking like him in Saturday's night fever, this way …» to pass to the topic of the sound-track of Pulp Fiction of Tarantino interpreted by Uma Thurman and the proper Travolta. A Greek topic that goes for title Misirlou.

Altar Malikian is a type full of humor that the music of very serious form takes to break the clichés that still today maintain it somewhat encorsetada. He puts all its ardor, all its heart in preventing from being the people that it is possible to make a fuss of seeing him touching (like the gods) the violin without being not even a calm minute with the feet in the soil. A type, on the other hand, that proves to be compromised with the world in which he has had him to live, and which has offered him this another less kind face living very closely through the genocide of the Armenian people (in 1915 they were annihilated nearly one million and today scarcely it is recognized) or recent genocidios as Sarajevo, the Tibet or Syria. One of its last topics was a 1915 dedicated to its Armenian village, to this deplorable genocide and that was one of the most emotive topics and in the one that revealed the public who also can move turning as if he was an authentic dervish. Altar Malikian offered an eclectic, varied concert but that with the innovation has lost not even a quality apex. He interpreted current works without complex alternating with all the possible musical genres. A vibrant and emotive spectacle that closed (with a dedicated public) with an aria of Johannes Sebastian Bach with Altar Malikian going down the stage and rising for the stairs up to half of the corridor.

wimg_9174

wimg_9532_fhdr

Only we can only show our admiration to those that make this type of concert possible integrated in a stable programming as it is the International Week of the Music that in this year, 2016, has reached some wonderfully 25 years. From here we admire that a population as Medina of the Field (Valladolid) has this programming with a modest budget. We imagine that a lot of of it expires it is had by its director (and of the Week of the Movies) Emiliano Allende Zapatero. Congratulations and …: long life to the International Week of Music and of Movies!

«A lot of peace, a lot of love and a lot of, a lot of health». Thank you It Plows Malikian and to all its team.

Square Luisjo

Magazine Atticus

A beautiful memory

Ejemplar Revista Atticus dedicado por Ara Malikian

Model Magazine Atticus dedicated by Altar Malikian

Ara Malikian y Chuchi Guerra

Altar Malikian and Chuchi Guerra

 

Ara Malikian y Luisjo Cuadrado

Altar Malikian and Luisjo Cuadrado


 Page 1 of 135    1  2   3   4   5  »  ...    Last » 
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