Latest news with #Einaudi
CairoScene
11-04-2025
- Entertainment
- CairoScene
Candlelight Concerts Return to Jeddah With Tributes to Adele & Einaudi
This spring's series includes four live concerts under candlelight at The Ritz-Carlton and Levento Hall. Candlelight Concerts, the global music series known for setting classical and modern music against a backdrop of hundreds of flickering candles, is reigniting in Jeddah this spring with a lineup that blends Western pop, minimalist piano compositions, and Arabic instrumentals. The first event, titled 'Best of Western & Arabic Hits', kicks off on Thursday, April 24th at The Ritz-Carlton, Jeddah, with two performances blending Arabic and Western compositions. Showtimes are set for 7 PM and 9 PM, with tickets starting at SAR 275. The second round takes place on Friday, May 16th at Levento Hall, beginning with 'A Tribute to Ludovico Einaudi' at 7 PM, followed by 'A Tribute to Adele' at 9 PM. The Einaudi performance will bring to life the Italian composer's minimalist piano works, known for their use in major films and streaming series, while the Adele tribute will reinterpret the singer's catalogue with string arrangements. Tickets for both shows begin at SAR 150. Guests attending the Ritz-Carlton concerts can also opt into an extended evening featuring curated dining experiences. The hotel is offering a candlelight dinner service with a menu that includes Middle Eastern favourites, international main courses, and specialty desserts.
BBC News
05-03-2025
- Entertainment
- BBC News
'It tells us something about how elites seek to retain their power': How Lampedusa's The Leopard skewered the super-rich
Lampedusa's mid-20th-Century novel The Leopard became a bestseller, then a revered film – and is now a lavish Netflix series. Its withering takedown of society's flaws and hypocrisies still hits home today. "Dying for somebody or for something, that was perfectly normal, of course: but the person dying should know, or at least feel sure, that someone knows for whom or for what he is dying." These are some of the opening lines of Giuseppe Tomasi di Lampedusa's The Leopard, published in 1958, only a year after the author died of cancer. These words are from the novel's protagonist, Prince Fabrizio, head of an aristocratic Sicilian family. He is recalling discovering the body of an unknown soldier under one of his paradisiacal villa's lemon trees. It's an image that sums up the novel's existential spirit: beneath beauty, there is rot. Lampedusa was never published during his lifetime. His sole novel charts the fortunes of the Salina family, set against the backdrop of the Risorgimento: a social and political movement for Italian unification that led to the creation of a new kingdom of Italy in 1861, during a period of wider European revolutions. As ideas about democracy, liberalism and socialism carried throughout the continent, workers raged against the land-owning gentry, which they held responsible for worsening working conditions and widespread poverty. The period concluded in 1870 with the annexation of parts of the Italian peninsula, the unification of Italy and the capture of Rome. In The Leopard, one such landowner, Fabrizio, strategises based on what he believes he stands to gain at this tumultuous time for the aristocracy. He orchestrates the marriage between his dashing nephew Tancredi Falconeri and the nouveau-riche Angelica Sedara – against the wishes of Fabrizio's own daughter Concetta, who is in love with Tancredi. Considered one of the most important works of Italian literature, The Leopard was described by the cultural historian Lucy Hughes-Hallett as "the most loved and admired novel ever written in Italian". The British author EM Forster, meanwhile, in his preface to the Italian author's unfinished memoir Places of My Infancy (1971), wrote: "Lampedusa has meant so much to me that I find it impossible to present him formally… Reading and rereading it has made me realise how many ways there are of being alive." Marking only the second adaptation of the novel – and the first serialised version – a new Netflix series makes a fresh case for The Leopard's relevance in the 21st Century, more than 60 years after Luchino Visconti's classic film. A runaway hit Despite its historical shrewdness and epic love story, Lampedusa's novel did not initially fare well with Italian publishers. Two major publishing houses, Arnoldo Mondadori Editore and Einaudi, swiftly rejected Lampedusa's 1956 manuscript. The influential modernist and editor Elio Vittorini claimed it was too "traditional" compared with the experimental avant-garde movement sweeping Italian literature at the time. "Conservatives didn't like it because it's very rude about the Church and it's fairly cynical about aristocrats," David Laven, a historical consultant on Netflix's adaptation, tells the BBC. "Left-wingers didn't like it because he doesn't portray a positive view of the ordinary working class." After Lampedusa's death, his book fell into the hands of literary agent Elena Croce and eventually landed on the desk of the publisher Feltrinelli. The novel had vocal detractors, including the aforementioned Vittorini and the anti-fascist author Alberto Moravia, who were both suspicious of what they believed was the novel's conservatism, a decade after the 1943 overthrowing of the fascist leader Benito Mussolini. As Rachel Donadio wrote in The New York Times in 2008, The Leopard "was at first seen as quaint and reactionary, a baroque throwback at the height of neorealism in cinema and class-consciousness in all the arts". When it was published, however, it became a runaway bestseller, cycling through a staggering 52 editions in fewer than six months. Perhaps it resonated with a disillusioned generation living well after the Risorgimento, but appreciating what the French Marxist author Louis Aragon described as a "merciless" and "left-wing" critique of the upper classes. Lampedusa was posthumously awarded the prestigious Strega Prize, and his reputation as a literary great would soon outstrip his contemporaries. Part of what made The Leopard difficult to stomach for so many was its scathing tone, evenly applied to all corners of Italian society. Lampedusa himself was born into the aristocracy in 1896, and lived in a grand palazzo much like the one in his novel – but that did not prevent him from lampooning his own. His biographer David Gilmour wrote in The Last Leopard (1988) that part of what prevented Lampedusa from writing until so late in life was what he believed to be the redundancy of his own class. More like this:• 10 of the best TV shows to watch this March• The mystery of why Jane Austen's letters were destroyed• The women-only gang that menaced Victorian London Within the novel's first few pages, Lampedusa disdains Fabrizio's wife and seven children and describes his arduous audiences with King Francis I (King of the Two Sicilies) as coming face to face with: "this monarchy which bore the marks of death upon its face". Far from believing this makes him a cut above the rest, however, the jaded Fabrizio is just as flawed: unscrupulous, forsaking his own family. A tale of disenchantment and fear of obsolescence amid a crumbling dynasty, The Leopard skewers the flaws and hypocrisies present throughout all Italian society. "The great myth of Italian unification is that it was a bottom-up movement, that Italians suddenly woke up in the morning and really wanted to overthrow the regimes they were living in," says Laven. "If you think about Sicily, civilians were used to regime change." Sicily had been ruled by the kings of Spain, before conquests by the Italian House of Savoy and Austrian Habsburgs. The French Bourbons had taken over by the time Naples and Sicily were merged in 1816. They were, in turn, overthrown in 1848, before returning to power 16 months later. In Lampedusa's novel, though the revolutionaries have high hopes of radical change, the protagonist insists the middle classes will simply replace the upper classes, while on the face of things everything remains the same. Despite these societal shifts, the status quo was upheld, as captured by one of the novel's most enduring lines: "If we want things to stay as they are, things will have to change." "It's not only something that's going on in Italy but across Europe in the 19th Century," says Laven. "Bismarck doesn't really want German unification. He's trying to defend the interests of the Prussian Junkers [nobility], and he's prepared to make compromises. Lots of British aristocrats don't like the way the world is going, but they realise they must accommodate themselves with a changing world in order to retain their status. [The Leopard] tells us something about the way in which elites seek to retain their power." According to Laven, although The Leopard contains small historical inaccuracies, Lampedusa really captured the essence of the time. Unlike the work of historical fiction giants such as Leo Tolstoy or Victor Hugo, the author navigates Fabrizio's lofty world with thrift and virtuosic wit. "[When you think of historical fiction], you tend to think of these great slabs of books," says Laven. "What you have [here] is this incredible ability to capture a moment almost 100 years before he's writing with such economy of style." Legacy of The Leopard Five years after publication, The Leopard's status as a landmark of Italian literature was cemented by an acclaimed film adaptation, directed by Visconti, a Marxist who, like Lampedusa, hailed from a noble family. It starred Burt Lancaster as the titular leopard, Fabrizio, and Alain Delon as his nephew Tancredi. Visconti's opulent film held the same searingly cynical and yet elegiac view on the upper echelons of Italian society, according to Arabella Cifani, books editor of the Giornale dell'Arte. "Visconti understood it profoundly," she tells the BBC. "One would say that the book was connatural to the worldview held by Visconti, who was also a prince and whose ancestors had ruled Milan for over 100 years." Famously, the film contains a lavish 25-minute ballroom scene. According to the Rotten Tomatoes' critics consensus, the waltz "competes for [the] most beautiful sequence committed to film". But amid this splendour, Lancaster's Fabrizio has a cloying sense of his own mortality, musing on what his own death will be like. The American star was not Visconti's first choice for the role, but he embarked on in-depth research, spending time with Lampedusa's widow, adopted son and members of the Sicilian nobility. Though it won the Palme d'Or in its year of release (1963), the critic David Weir claimed Visconti's film was less appreciated by audiences than Federico Fellini's 8 ½ from the same year: "The Leopard was part of the story of the early 1960s that saw movie audiences gravitating away from big-budget fiascos". Its ensuing influence on major directors has been undeniable, however, with resonances of it in the grandiose work of Francis Ford Coppola and Martin Scorsese, who has cited it as one of his favourite films, saying: "I live with this movie every day of my life". For the creators of Netflix's new series, the way The Leopard speaks to a collapsing epoch was at the core of its appeal. "We were going through the throes of Brexit when I first read it, and it seemed to me that there was a sort of Risorgimento in reverse happening," its writer and creator Richard Warlow tells the BBC, referring to new divisions being created in Europe as opposed to unifications. "It did get me thinking about ideas of nationhood, what it is to be an island, the ingrained nature of our lives and what it's like to suddenly change that." Undoubtedly, the lavishness of the novel was another draw for the showrunners, with some already comparing it to hugely successful Netflix series like The Crown or Bridgerton. Although the Risorgimento – and the novel's events – took place more than 150 years ago, the ramifications are still deeply felt in Italian society, according to Laven, especially against an increasingly political and economic split between north and south. "It's quite clear that for them it's still very meaningful," he says. And how much this revolutionary period of history changed anything – besides the creation of a centrally governed region of Italy – is open to debate. Cifani adds that the novel's famous line: "if we want things to stay as they are, things will have to change" continues to be used as a political slogan. It's a sentiment that seems, like Lampedusa's novel, timeless. The Leopard is released on Netflix on 5 March. -- For more Culture stories from the BBC, follow us on Facebook, X and Instagram.
Korea Herald
24-02-2025
- Entertainment
- Korea Herald
Ludovico Einaudi: composer behind soundtrack of our lives
Italian composer with 39 billion global streams talks about source of inspiration ahead of his visit to Korea You may not recognize the name Ludovico Einaudi, but chances are you've heard his music. The Italian composer's delicate piano melodies have resonated worldwide, featured in films, advertisements and streaming playlists. His compositions have surpassed 39 billion global streams -- more than Mozart or Beethoven in the digital era -- while his track 'Experience' has amassed 15.6 billion views on TikTok. His music has left a lasting impact on cinema as well, appearing in Academy Award-winning films such as 'Nomadland' and 'The Father.' On April 2, Einaudi, who recently released his 17th studio album, 'The Summer Portraits,' will perform at the Grand Theater of the Sejong Center for the Performing Arts in Seoul, marking his first visit in eight years after a 2020 trip was canceled due to the COVID-19 pandemic. Life of endless inspiration Einaudi's inspirations are vast. His early exposure to Chopin, Bach and Schumann, thanks to his pianist mother, led him to explore European folk music, the Beatles and other 1960s rock. Over time, his influences expanded to include Vivaldi, Stravinsky, Bartok and even Billie Eilish, Eminem and Radiohead. 'I've listened to such a variety of music throughout my life, and I know I will continue to, as music remains a constant source of inspiration,' he said during a recent online interview with Korean media. Books are another creative wellspring. He always carries Henry David Thoreau's 'Walden' and 'The Journal." "Walden" is a classic reflection on simple living and nature, while "The Journal" is a collection of Thoreau's personal writings and observations. Both books explore themes of self-sufficiency, solitude and humanity's connection to nature. 'Reading Thoreau's work every day provides me with new inspiration. Each time I turn a page, I discover something fresh — not only about where we are now but also about where we should be heading in the future,' he added. For Einaudi, making music is like writing a book -- each album tells a different story. 'I see creating an album as similar to writing a book. It's about searching for the stories that will go into it. For example, my latest album, 'The Summer Portraits,' is about memories of summer. I once created an album centered around the theme of waves, and I like to think of each album as a book with its own unique story. The music within them is like the chapters of that book,' he said. Constant search for new territories The 70-year-old composer emphasized that he has no interest in repeating himself musically. 'Even if I had a successful piece from five or 10 years ago, I have no desire to repeat it. The power of what you create is always to find a new territory to explore something new. I like to be involved in the excitement of exploring new territories with new ideas with my music,' he said. When facing creative challenges, instead of actively searching for inspiration by traveling to specific places, he simply sits at the piano, follows his instincts, and refines his ideas. 'I analyze them and I develop the ones that I think are good and sometimes I find new territories of my soul,' he explained. His upcoming visit to Korea might be another source of new discoveries. 'I'd love to explore something interesting during this visit -- maybe even dive into the K-pop scene and its possibilities,' he said.
The Independent
29-01-2025
- Entertainment
- The Independent
Ludovico Einaudi: ‘When it comes to critics, my vision is strong – I trust in what I do'
Ludovico Einaudi, one of the most-streamed composers in the world, has admitted that harsh reviews of his work can still sting, despite his confidence in his artistic vision. The renowned Italian composer discussed his polarising status among music critics in an exclusive interview with The Independent. 'I mean, it's not nice when someone is writing against you, and you cannot reply, you cannot do anything about it,' Einaudi, 69, confessed. 'But my trust in what I do, my vision is stronger, so I keep doing what I feel, and this for me is the most important [thing].' Einaudi is the debut guest on Roisin O'Connor's Good Vibrations podcast, which launches Friday 31 January. He rose to international fame in the early Eighties, performing original compositions at prestigious venues such as the Lincoln Centre and Teatro alla Scala. By the Nineties, he had cemented his reputation with a series of critically acclaimed albums, including Le Onde (The Waves), inspired by Virginia Woolf's novel, and 1999's Eden Roc. His work has spanned not only concert halls but also cinema, with acclaimed scores for films such as Shane Meadows' Bafta-winning This Is England (2006) and Florian Zeller's The Father (2020), starring Olivia Colman and Anthony Hopkins. Einaudi's latest work, The Summer Portraits, is arguably his most personal yet. Inspired by a trip to a Mediterranean villa, the album explores themes of childhood innocence, summer holidays, and family trauma. His music has long been admired for its ability to evoke powerful emotions, but it has also drawn criticism for being 'too populist' or overly accessible—criticisms that the composer dismisses with quiet resolve. Enjoy unlimited access to 100 million ad-free songs and podcasts with Amazon Music Sign up now for a 4 month free trial (3 months for non-Prime members) Sign up 'I keep doing what I feel,' he said, reflecting on the divide between his detractors and the millions of listeners who resonate with his music. 'My vision is what connects me with the people who listen. That's the most important thing for me.' Some of The Summer Portraits was recorded at the famous Abbey Road Studios in London, a treat for Einaudi who has previously spoken of his love of The Beatles. He revealed that he's excited about the Oasis reunion taking place this summer: 'Listening to their albums now, I think they had a nice energy,' he said. 'It's rock and roll but it's like they squeezed something out from the best moments of rock and roll and took it into the Nineties.' He continued: 'Probably if they were together they wouldn't have done so much. But I think they are stronger together. I was listening recently before the reunion – I was curious so I listened to both of their single projects, and not one of them was totally convincing for me [compared to Oasis albums]. I think it was like that for me also with The Beatles.' When it comes to composing his own work, Einaudi said: 'Music represents the vision of the world that I would like to have, where I would like to live, where I would like to be, how I would like to relate to others, how I would see a perfect life, of perfect emotions and feelings.' Lead single 'Rose Bay' takes its name from the suburb of Sydney where Einaudi's paternal grandfather, conductor Waldo Aldrovandi, emigrated in the 1930s in protest of Italy's fascist government, leaving his family behind. 'For my mother, music was connected with the loss of her father, so there was a very strong and sentimental connection – when she was playing piano, it was a way of communicating with the father she never saw again,' Einaudi said. Other upcoming guests on the Good Vibrations podcast include The Cult guitarist Billy Duffy, Mercury Prize-shortlisted R&B artist Nao, British actor and singer Ben Barnes, Nineties pop icon Chesney Hawkes, and critically acclaimed US alt-pop artist BANKS. Each episode will air fortnightly on Fridays and star a high-profile guest from the world of music. The podcast will be available on all major streaming services including Apple Music and Spotify. Ludovico Einaudi's new album The Summer Portraits is out Friday 31 January on Decca. He performs at the Royal Albert Hall London (30 June to 4 July), Manchester Co-op Live (6 July), Dublin 3Arena (8 July) and Edinburgh Castle 10-11 July).
