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Montalbetti, Ko claim top prizes at competition
Montalbetti, Ko claim top prizes at competition Jennifer Jacoby-Smith The StarPhoenix August 18, 2005 Musicians did Saskatchewan proud at the 2005 National Music Festival last weekend in Kamloops, B.C. Two Saskatoon natives took top prizes in their fields. Soprano Ileana Montalbetti, formerly of Saskatoon and currently living in Manitoba, received first place honours in the voice competition; and violinist Raymond Ko placed first in the strings competition. Montalbetti admitted her win came as a "big surprise." The 22-year-old graduated earlier this year from University of Manitoba's music program. She represented Manitoba at the national festival, but still comes back home to Saskatoon frequently. Montalbetti appeared in Saskatoon Opera's production of Die Fledermaus earlier this summer. She will also return Oct. 29 to participate in the opera company's gala. "I would love to make a living singing," said Montalbetti, "but I'll have to see if th...
". . . Montalbetti admitted her win came as a "big surprise." The 22-year-old graduated earlier this year from University of Manitoba's music program. She represented Manitoba at the national festival, but still comes back home to Saskatoon frequently. Montalbetti appeared in Saskatoon Opera's production of Die Fledermaus earlier this summer. She will also return Oct. 29 to participate in the opera company's gala. "I would love to make a living singing," said Montalbetti, "but I'll have to see if that's in the cards." In the fall she will be off to University of Toronto to take their opera diploma. . . " (subscription required|The StarPhoenix | Montalbetti, Ko claim top prizes at competition ) :: note :: . . . a bit of fatherly pride . . . well done and much deserved (from my perspective) . . . graduated this spring and now . . . nice to see a national award as she arrives in Toronto . . . best of luck . . .
"Culture and creativity are the latest 'buzzwords' in the debate on innovation strategies for the knowledge economy. But what is the cultural dimension of the knowledge economy? And what does this imply for the public domain? " (context weblog| creative capital: culture, innovation and the public domain ) :: note :: . . . the words whether buzz or not take on a life of their own . . . they don't have the same meaning to me . . . when in Europe often wondered if the green I spoke was the green others saw . . . now wonder if creativity is a word i can speak . . .
made a terrible mistake couldn't face reality doesn't tell the whole story nothing ever does songs are of time and distance the sadness is in you there is only the dance these things you treasure are shells you are someone else's collage watch my arms (early morning dispatch from Mary Wigman) :: note :: .. . . last night was cold . . . woke up often . . . transcribed this dispatch from the place beyond sleep . . .
"The abject, mimed through sound and meaning, is repeated. Getting rid of it is out of the question - the final Platonic lesson has been understood, one does not get rid of the impure; one can, however, bringing it into being a second time, and differently from the original impurity. It is a repetition through rhythm and song, therefore through what is not yet, or no longer is "meaning," but arranges, defers, differntiates and organizes, harmonizes pathos, bile, warmth, and enthusiasm." (Kristeva. Powers of Horror . 28)
"Sad to say, I suppose it's possible that the sheer penetrating vigour of the work in Within and Beyond the Wall was also a factor in its having been so meticulously ignored by Toronto critics and media while it was available. For this was no ordinary exhibition, even as my observations and personal experience suggest that to be reflectively penetrating in Toronto seems often to be viewed, amid local insecurities, not as a contribution to the textural resilience and sophistication of the polis, but rather as an affront to the perceived need for relentless cheerleading, whether of the urban, corporate or national variety." (Lear's Shadow| Representing Berlin In the Context of Toronto by Douglas Ord ) :: note :: . . . need many more studies of "art work" like this . . . a blend of informed academic, critical with creative, imaginative . . . written as a wonderful personal reflection . . . thanks . . .
. . . son shares his dream of delivering my eulogy at St. Phillip's Church . . . just like you did for grandpa . . . "How does that make you feel?" . . . couldn't answer adequately . . . a while later a line from the past echoes: 'the sins of the fathers forgive the grandfathers' . . . lines may 1st 1966 (from the sorrowful canadians - wilfred watson ) the sins of the fathers forgive the grandfathers. MY BROTHERS AND I DECIDED ON A SUMMARY EXECUTION the sins of the fathers forgive the grandfathers. WE MADE EXCUSES FOR HIS AMIABLE FOLLIES, ESPECIALLY A VAIN WISH TO SPARE US SUFFERINGS, DEPREVATIONS, BOREDOMS WHICH HAD STUNG HIM TO THE TEETH the sins of the fathers forgive the grandfathers. OUR HEADS WERE NOT YET GREY, HIS HEAD WAS NOT YET WHITE the sins of the fathers forgive the grandfathers. BUT WE DECIDED IN THE HEAT OF MIDSUMMER OUR WRONGS HAD LASTED TOO LONG. the sins of the fathers forgive the grandfathers. WE ACCUSED OUR FATHER OF BEING PAR...
"But modern creativity theory argues that the creative process is as much an intellectual and social process as an emotional and individual process. As Dean Keith Simonton writes, 'creativity involves the participation of chance processes both in the origination of new ideas and in the social acceptance of these ideas by others... probabilistic or stochastic mechanisms operate at fundamental levels to generate original conceptions and to isolate the subset of these ideas that are judged adaptive by others -- and hence deserving of the designation 'creative'.' (2)" (artnet| The Matrix of Sensations by Donald Kuspit ) :: note :: . . . say what . . . title of the above image: Look . . .
An empty theater. On stage is dying A player according to his art's demands The dagger in his neck. His lust exhausted A final solo courting the applause. And not one hand. In a box, as empty As the theater, a forgotten robe The silk is whispering what the player screams. The silk turns red, the robe grows heavy From the player's blood that pours out while he dies In the chandelier's luster that blanches the scene The forgotten robe drinks empty the veins of The dying man who now resembles no one but himself Neither lust nor terror of transfiguration left His blood a colored stain of no return (Heiner Müller trans. Carl Weber)
:: note :: . . . a couple of years back with the grade 11/12 class examining different types of theater . . . Grotowski's Akropolis & Lepage's Seven Streams of the River Ota . . . discovered they knew little about Hiroshima . . . spent a fascinating week fielding unanswerable questions . . . didn't know which was more frightening their lack of knowledge or disbelief of what they were learning . . . we need to inform . . . all of us at any time . . .
"If art is a way of knowing by doing then clearly arts-based research must follow this tenet of allowing for "knowing" to emerge out of the creative process and finding adequate ways to document this process." (The Journal of Pedagogy Pluralism & Practice Issue 9: Fall 2004| Artists, Arts Educators, and Arts Therapists as Researchers byPhillip Speiser) :: note :: . . . documenting process with a sharp, critical yet understanding eye is remarkably difficult . . .
. . . started with the body's recollection of being (david michael levin) . . . the "Problem" of the Body The Problem of the Contemporary Body "The absent body" The "Ecstatic" Surface Body The "Recessive" Visceral Body The "Aesthetic" "Inner" Bodymind The Aesthetic "Outer" Body "Chiasmatic Body" (Theatre Journal 56.4 (2004) | Toward a Phenomenological Model of the Actor's Embodied Modes of Experience by Phillip B. Zarrilli |access Project Muse)
