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luís soares

Blog do escritor Luís Soares

Mark Strand - Coming To This

We have done what we wanted.
We have discarded dreams, preferring the heavy industry
of each other, and we have welcomed grief
and called ruin the impossible habit to break.

 

And now we are here.
The dinner is ready and we cannot eat.
The meat sits in the white lake of its dish.
The wine waits.

 

Coming to this
has its rewards: nothing is promised, nothing is taken away.
We have no heart or saving grace,
no place to go, no reason to remain.

Io t'abbraccio

Io t'abbraccio from Rodelinda, regina de' Longobardi, opera seria by George Frideric Handel, that premiered at the King's Theatre in the Haymarket in London on 13 February 1725, at the height of his career.  
This duet is sung between Rodelinda, Queen of Lombardy and Bertarido, the usurped King; the role of a king was originally sung by alto castrato while today it is sang by countertenors.

Lucy Crowe (Rodelinda) / Bejun Mehta (Bertarido)

 

Philippe Jaroussky (Bertarido) / Nuria Rial (Rodelinda)

 

Renée Fleming (Rodelinda) / Andreas Scholl (Bertarido)

John Ashbery - Ignorance of the Law Is No Excuse

We were warned about spiders, and the occasional famine.
We drove downtown to see our neighbors. None of them were home.
We nestled in yards the municipality had created,
reminisced about other, different places—
but were they? Hadn’t we known it all before?
 
In vineyards where the bee’s hymn drowns the monotony,
we slept for peace, joining in the great run.
He came up to me.
It was all as it had been,
except for the weight of the present,
that scuttled the pact we made with heaven.
In truth there was no cause for rejoicing,
nor need to turn around, either.
We were lost just by standing,
listening to the hum of wires overhead.
 
We mourned that meritocracy which, wildly vibrant,
had kept food on the table and milk in the glass.
In skid-row, slapdash style
we walked back to the original rock crystal he had become,
all concern, all fears for us.
We went down gently
to the bottom-most step. There you can grieve and breathe,
rinse your possessions in the chilly spring.
Only beware the bears and wolves that frequent it
and the shadow that comes when you expect dawn.

Down In The Street Below

Press the doorbell and push the door
Climb the darkened stairwell to the second floor
She'll be waiting for you in her dressing-gown
With the drink she poured you when she heard the sound
Watch the film, eat the food she cooked
Talk of how the film ain't half as good as the book
Kiss her sleepy eyes closed and say "it's time"
To slip beneath the shadows of the bedroom blinds

 

Well it's always a pleasure and never a chore
But you just don't know whether you're doing it for the right reasons
It's cold for the season down in the street below

 

Men and women go about their business
Picking up the last few things for Christmas
Trying not to step upon the pigeons
Praying to the gods of their religions
That they might be spared a little longer
That they might become a little stronger
Down in the street below

 

Everybody's on a secret mission
Everybody's got their own ambitions
They would tell you if they thought you'd listen
They would say how lately they've been wishing
For the chance to meet a handsome stranger
Lead a life of elegance and danger
Down in the street below
Down in the street below

 

Way up high in a phallic tower
You're swimming in a tiny galaxy of stars
Knocking back mojitos at the cocktail bar
Talking 'bout burritos and conceptual art
Your armchair's round and your glass is square
The clientele's straight out of this month's Vanity Fair
Well look around the place, something's not quite right
Yours is the only face that you don't recognize

 

Well it's always a pleasure and never a chore
But you just don't know whether you're doing it for the right reasons
It's cold for the season down in the street below

Leone D'Oro

La Giuria di Venezia 74, presieduta da Annette Bening e composta da Ildikó EnyediMichel FrancoRebecca HallAnna MouglalisJasmine TrincaDavid StrattonEdgar Wright e Yonfan,  dopo aver visionato tutti i 21 film in concorso, ha deciso di assegnare i seguenti premi:

 

LEONE D’ORO per il miglior film a:

THE SHAPE OF WATER  

di Guillermo del Toro (USA)

Frank Bidart - Self-Portrait, 1969

He's still young—; thirty, but looks younger—

or does he? . . . In the eyes and cheeks, tonight,

turning in the mirror, he saw his mother,—

puffy; angry; bewildered . . . Many nights

now, when he stares there, he gets angry:—

something unfulfilled there, something dead

to what he once thought he surely could be—

Now, just the glamour of habits . . .

                                                                  Once, instead,

he thought insight would remake him, he'd reach

—what? The thrill, the exhilaration

unravelling disaster, that seemed to teach

necessary knowledge . . . became just jargon.

 

Sick of being decent, he craves another

crash. What reaches him except disaster?

L’Arpeggiata

Christina Pluhar and L’Arpeggiata, accompanied by soprano Céline Scheen and countertenor Philippe Jaroussky, take you on an exciting journey from German songs by Schütz and Bach to motets by Monteverdi, Cazzati and Sances during the Utrecht Early Music Festival.

 

The musical programme:
Heinrich Schütz: Es steh’ Gott auf SWV356
Tarquinio Merula: Ciaccona
Heinrich Schütz: Erbarm Dich mein, o Herre Gott SWV447 and
Von Gott will ich nicht lassen SWV 366
(from: Symphoniae Sacrae II)
J.C. Bach: Ach, dass ich Wassers g‘nug hätte
J.S. Bach: Cellosuite nr. 2 in d BWV 1008,
Prelude,
Mein Jesu, was vor Seelenweh BWV 487 and
Komm, süsser Tod BWV 478
Schemelli: Per la Santissima Vergine
Heinrich Ignaz Franz von Biber: Sonate nr. 1 in d
Anonymous: Ninna nanna al Bambin Giesù
Maurizio Cazzati: Ciaconna
Ignazio Donati: O gloriosa Domina
Tarquinio Merula: Hor ch’e tempo di dormire
Giovanni Antonio Pandolfi Mealli fl.: La Vinciolina Op. 4 nr. 6
Giovanni Felice Sances: Stabat mater (Pianto della Madonna)
Claudio Monteverdi: Laudate Dominum in sanctis eius SV 287