Informații interesante

Asculta azi Roxette

Roxette – Listen to your heart (with orchestra Il Novecento, 2009)

Roxette, with orchestra Il Novecento, conducted by Robert Groslot, Live at Night of the Proms in 2009, Sportpaleis, Antwerp, Belgium.

"Listen to Your Heart" is the title of a Billboard Hot 100 number one hit song recorded by Roxette.
Something about Marie Fredrikson:

On 11 September 2002, Fredriksson fainted in her bathroom, hitting her head and receiving a concussion. Scans indicated that Fredriksson had a brain tumor in the back of her head (cancer).

The diagnosis led to the cancellation of Roxette's planned performance at the 2002 Night of the Proms concert series.

After waiting several weeks for the concussion to subside, she underwent a successful surgery to remove the tumour. It was malignant and she endured months of chemotherapy and radiation treatments.

She had difficulties reading, writing and counting for a period of time, and is now blind in her right eye.

In January 2003, Roxette were awarded the 'Royal Medal with Blue Ribbon' by King of Sweden Carl Gustaf XVI. The ceremony was the first event at which Fredriksson appeared after her operation. This was one of very few public appearances she made during her illness.

She withdrew from the public eye for almost two years.
On 21 October 2005, Fredriksson stated, "It’s been three very difficult years", but in an interview with Jens Peterson published in Aftonbladet, Fredriksson says she has won her fight against cancer. "I’m healthy", she says. "I’m not receiving treatment anymore."

About 6 months after Fredriksson's cancer diagnosis, she and her husband Mikael Bolyos began to work on her first ever English solo album.
She called the album „The Change” which entered the Swedish chart at No. 1 The first single, "2nd Chance", entered the Swedish singles chart at No. 1. Soon after its release, The Change achieved gold status (20,000 copies sold) in Sweden, according to IFPI.

In conjunction with the release of The Change, Fredriksson started a new publishing company together with Bolyos. MaryJane Music was mainly created "as a home for Marie's solo albums," states the label's website, "but as the musical collaboration between Marie and Mikael continues and expands, don't be surprised if you find other exciting projects with some of their musical friends released on this label."

The power ballad was released in September 1988 in Sweden as a single from their album Look Sharp!, and was written by Per Gessle and Mats M.P. Persson.

It reached number one on the Billboard Hot 100 singles chart on November 4, 1989, their second chart-topper of the year. They rose to #1 the same week the dominant New Kids on the Block rose to number two with their song "Cover Girl", thus preventing the group from taking the top spot.

The song was released in the UK in October 1989 and reached a lowly number 62, but was re-issued in August 1990 as a double A-side with "Dangerous" after the success of their previous single "It Must Have Been Love", and reached number six.

At the Wembley Arena gig on their 1991–92 “Join the Joyride/The Summer Joyride World Tour”, before playing this song as part of the encore, Per said "We can't leave you tonight without playing you this absolutely true story."

Some cover versions

In 1990, Greek singer Sofia Vossou released a cover called Akou tin kardia(Listen to the heart)

Hong Kong pop singer Shirley Kwan released a Cantonese version of the song called "這是我心裡對白" (English: This is the Monologue of My Heart) in her 1990 album True Love.

"Habla El Corazón", the Spanish version of the song, was released in March 2007 by Mexican artist Yuridia, who covered the track for her second album Habla El Corazón. The song quickly gained both airplay and digital sales, debuting at #89 in the Mexican Top 100, that week's highest debut. To this date, the song has peaked at #58. On the week of April 28, 2007, "Habla El Corazon" debuted in the U.S. Hot Latin Songs at #50. It is the first time her second single appears on a U.S. chart, as "Maldita Primavera", the second single from her debut album, only charted in the Mexican Top 100.

In 2008, Finnish Gothic metal band Reflexion recorded a cover version of the song as a bonus track on their EP Twilight Child, and later released the cover as a bonus track on their 2008 album Dead to the Past, Blind for Tomorrow.

In 2009, Scottish power metal band Ascension recorded a cover and released it as a single.

In 2009, Filipino singer Sarah Geronimo recorded a cover version of the song for her album Music and Me.

In 2010, Lebanese-German singer Fady Maalouf included a cover of the song on his album Into the Light

In 2011, Tommy Johansson of the band ReinXeed covered the song for the compilation Swedish Hitz Goes Metal.

Appearances in other media

"Listen to Your Heart" was used by the dissident political party Civic Forum in its television advertisements for the 1989 Czechoslovakian elections, one of the first elections in Eastern Europe that came with collapse of communism.
"Listen to Your Heart" was likewise used in election broadcasts by the then right-wing liberal party Fidesz led by Viktor Orbán for the 1990 elections.

The song appeared in a 1989 episode of the Brazilian soap opera O Sexo dos Anjos by Globo TV.

The song was used in the Cold Case first season episode "Maternal Instincts" which aired in 2004.

In 2005, the song was featured on the TV show Reunion.

The song can be sung in the 2008 Xbox 360 video game, Lips.

The lyrics are:

I know there's something in the wake of your smile

I get a notion from the look in your eyes yeah

You've built a love but that love falls apart

Your little piece of heaven turns to dark

Listen to your heart

When he's calling for you

Listen to your heart

There's nothing else you can do

I don't know where you're going

And I don't know why

But listen to your heart

Before you tell him goodbye

Sometimes you wonder if this fight is worthwhile

The precious moments are all lost in the tide yeah

They're swept away and nothing is what it seems

The feeling of belonging to your dreams

Listen to your heart

When he's calling for you

Listen to your heart

There's nothing else you can do

I don't know where you're going

And I don't know why

But listen to your heart

Before... You tell him goodbye

And there are voices that want to be heard

So much to mention but you can't find the words

The scent of magic, the beauty that's been

When love was wilder than the wind

Listen to your heart (take a listen to it)

When he's calling for you

Listen to your heart (take a listen to it)

There's nothing else you can do

I don't know where you're going

And I don't know why

But listen to your heart

Before oh... Before you tell him goodbye

Listen to your heart (take a listen to it)

When he's calling for you

Listen to your heart (take a listen to it)

There's nothing else you can do

I don't know where you're going

And I don't know why

But listen to your heart

Before you tell him goodbye

Asculta azi Cyndi Lauper

Cyndi Lauper – True Colors (1986)

True Colors" is a song written by songwriters Billy Steinberg and Tom Kelly.

It was both the title track and the first single released from Cyndi Lauper's second album. It was the only original song on the album that Lauper did not help write.

"True Colors" spent two weeks in the number one spot on the Billboard Hot 100, and was the last single from Lauper to occupy the top of the chart. It received a Grammy Award nomination for Best Female Pop Vocal Performance.

Billy Steinberg originally wrote "True Colors" about his own mother. Tom Kelly altered the first verse and the duo submitted the song to Cyndi Lauper. Their demo was in a form of piano based gospel ballad like "Bridge over Troubled Water".

Steinberg told Songfacts that "Cyndi completely dismantled that sort of traditional arrangement and came up with something that was breathtaking and stark."

It reached number 1 on the U.S. Billboard Hot 100, 3 in Australia, and 12 on the UK Singles Chart.

The lyrics are:

You with the sad eyes

Don't be discouraged

Oh I realize

Its hard to take courage

In a world full of people

You can lose sight of it all

And the darkness inside you

Can make you feel so small

But I see your true colors

Shining through

I see your true colors

And that's why I love you

So don't be afraid to let them show

Your true colors

True colors are beautiful,

Like a rainbow

Asculta azi Alice Cooper

Alice Cooper – Hey Stoopid (1991)

This song is a straight message to the youth, telling them how bad drugs can be and how they can improve their lives by staying away from drugs and making better decisions.

Hey Stoopid is the 19th studio album by heavy metal singer and shock rock-legend Alice Cooper.

It was released on July 2 1991, with guest appearances from Slash (then still a member of Guns N' Roses), Ozzy Osbourne, Vinnie Moore, Joe Satriani, Steve Vai, Nikki Sixx and Mick Mars (both of Mötley Crüe).

Alice Cooper ran for governor of Arizona in 1988.

Alice Cooper: "I can live my life and be Alice Cooper the golfer of the restaurateur or the philanthropist. If you want to see the other Alice, you have to go see the show." His 2007 autobiography is called Alice Cooper, Golf Monster.

The lyrics are:

Hey bro, take it slow

You ain't livin' in a video

You're flying low with a high velocity

No doubt, you're stressin' out

That ain't what rock n' roll's about

Get off that one way trip down lonely street

Now I know you've been kicked around

You ain't alone in this ugly town

You stick a needle in your arm

You bite the dust, you buy the farm

CHORUS

Hey, hey, hey, hey, hey stoopid

What ya tryin' to do

Hey, hey, hey, hey, hey stoopid

They win you lose

Hey, hey, hey, hey, hey stoopid

C'mon girl, it's a better day

Get your foot out of that grave

Don't let that one love tear your world apart

C'mon babe, kick that stuff

Show the street it ain't so tough

Quit lyin' around with a crippled, broken heart

Now I know you've been seeing red

Don't put a pistol to your head

Sometimes your answer's heaven sent

Your way is so damn permanent

CHORUS

This ain't your daddy talkin'

You know, I know

Your story ain't so shocking

You know, I know

Blow some steam

C'mon and scream

Asculta azi Lita Ford si Ozzy Osbourne

Lita Ford & Ozzy - Close My Eyes Forever (1989)

Lita Ford recorded this as a duet with Ozzy Osbourne. Ford was once engaged to Tony Iommi, who played guitar with Osbourne in Black Sabbath. Ford, along with Joan Jett, was in girl-group The Runaways from 1975-1979. She is a guitarist as well as a vocalist.

The song came about by accident during a night of drinking and getting stoned when Lita was being managed by Ozzy's wife, Sharon. She recalled to Metal Underground: "Close My Eyes Forever was a mistake. It was just me and Ozzy and Sharon hanging about in the recording studio. They showed up one day and had a housewarming present for me: a life-size duplicate of Koko the gorilla from the San Diego Zoo. It was freaking huge – I had to strap it in the front seat of my jeep to get it home. Ozzy stayed, Sharon got bored and left, and me and Ozzy had a couple of drinks and we were jamming. We started singing, messing about and we wrote 'Close My Eyes Forever.'

Next thing I knew the sun was coming up. I looked at him and went, 'Uh-oh, we're in trouble.' Sharon had been waiting all night. We were a long way from where Ozzy had to go. He said, 'Can you drive me home?' I said, 'No, I can't.' We were stoned out of our minds. He got into a cab and I strapped Koko into my jeep and drove home – just barely made it. And then we had this hit song."

This was the only Top 10 hit of Ozzy's solo career, although he did reach #4 UK with the Black Sabbath song "Paranoid." Ozzy's fans tended to buy entire albums instead of just the singles.

This was the last hit for Lita Ford. Her previous hit was "Kiss Me Deadly," also from this album.

Another Lita/Ozzy connection: Ford's drummer, Randy Castillo, left her band to join Ozzy's in 1985.

The lyrics are:

(Lita)

Baby, I get so scared inside and I don't really understand

Is it love that's on your mind or is it fantasy

(Ozzy)

Heaven, is in the palm of my hand, and it's waiting here for you

What am I supposed to do with a childhood tragedy

CHORUS:

(Lita and Ozzy alternating)

If I close my eyes forever

Will it all remain unchanged

If I close my eyes forever

Will it all remain the same

(Ozzy)

Sometimes it's hard to hold on

So hard to hold on to my dreams

It isn't always what it seems

When you're face to face with me

(Lita)

You're like a dagger

And you stick me in the heard

And taste the blood from my blade

And when we sleep would you shelter me

In your warm and darkened grave

CHORUS

(Lita)

Will you ever take me

(Ozzy)

Mo, I just can't take the pain

(Lïta)

But would you ever trust me

(Ozzy)

No, I'll never feel the same....OOh..

Asculta azi Tina

Tina Turner - Private Dancer (live, 2009)

Private Dancer is the fifth solo album by Tina Turner, released on Capitol Records in 1984. The album was Turner's breakthrough after several challenging years of going solo after divorcing husband and performing partner, Ike Turner.

This song is about either a prostitute or stripper who prefers to consider herself a "Private Dancer." It describes how empty she feels inside. It was an unlikely title track to Turner's wildly successful comeback album, as the subject matter didn't relate to the singer's life or her return to fame.

Mark Knopfler wrote this song for his band Dire Straits, but realized that it didn't work with a guy singing it, so he pitched it to Turner, who was beginning her comeback.

In a 2004 interview with her fan club, Tina Turnerdescribed her reaction when Knopfler played her the song: "Mark said this song is not for a man, it's a girl's song. He recorded it but won't use it so when he put the demo on, he sung 'I'm a private dancer, dancer for money, do what you want me to do,' I told him, 'I think you're right, it's not a song for a guy. I liked it a lot. I wasn't sure whether the girl was a hooker or a very classical private dancer but I thought I'd take it."

Members of Dire Straits played on this track, including their bass player John Illsley and drummer Terry Williams. Jeff Beck played the guitar solo, as Mark Knopfler did not perform on it.

The album produced seven singles, including "What's Love Got to Do with It", "Better Be Good To Me, "Private Dancer", and "Let's Stay Together".

Positively received by critics on release for Turner's ability to give energy and raw emotion to slickly produced professional pop/rock songs; its long term legacy is that the softening of her raw Southern soul style produced a "landmark" in the "evolution of pop-soul music".

The lyrics are:

Well the men come in these places

And the men are all the same

You don't look at their faces

And you don't ask their names

You don't think of them as human

You don't think of them at all

You keep your mind on the money

Keeping your eyes on the wall

I'm your private dancer

A dancer for money

I'll do what you want me to do

I'm your private dancer

A dancer for money

And any old music will do

I wanna make a million dollars

I wanna live out by the sea

Have a husband and some children

Yeah, I guess I want a family

All the men come in these places

And the men are all the same

You don't look at their faces

And you don't ask their names

I'm your private dancer

A dancer for money

I'll do what you want me to do

I'm your private dancer

A dancer for money

And any old music will do

I'm your private dancer

A dancer for money

I'll do what you want me to do

Yes your private dancer

A dancer for money

And any old music will do

Dutchmarks or dollars

American Express will do nicely, thank you

Let me loosen up your collar

Tell me, do you wanna see me do the shimmy again?

I'm your private dancer

A dancer for money

I'll do what you want me to do

I'm your private dancer

A dancer for money

And any old music will do

I'm your private dancer

A dancer for money

I'll do what you want me to do

I'm your private dancer

A dancer for money

And any old music will do

I'm your private dancer, dancer for money

Just a private dancer, dancer for money

Asculta azi Alanis

Alanis Morissette - Head Over Feet (MTV Unplugged)

She is the first Canadian female to have a No.1 album in the US (for "Jagged Little Pill").

"Head over Feet" became Morissette's first number-one hit on Billboard's U.S. Adult Top 40 chart and topped the Top 40 Mainstream chart, but it was her first song not to enter the Top 20 on the Modern Rock Tracks chart.

In the United Kingdom, it was her first top ten single, and it reached the Top 20 in Australia.

The lyrics are:

I had no choice but to hear you

You stated your case time and again

I thought about it

You treat me like I'm a princess

I'm not used to liking that

You ask how my day was

You've already won me over in spite of me

Don't be alarmed if I fall head over feet

Don't be surprised if I love you for all that you are

I couldn't help it

It's all your fault

You're love is thick and it swallowed me whole

You're so much braver than I gave you credit for

That's not lip service

You've already won me over in spite of me

Don't be alarmed if I fall head over feet

Don't be surprised if I love you for all that you are

I couldn't help it

It's all your fault

You are the bearer of unconditional things

You held your breath and the door for me

Thanks for your patience

You're the best listener that I've ever met

You're my best friend

Best friend with benefits

What took me so long

I've never felt this healthy before

I've never wanted something rational

I am aware now

You've already won me over in spite of me

Don't be alarmed if I fall head over feet

Don't be surprised if I love you for all that you are

I couldn't help it

It's all your fault

Purcărete: nu ne obligă nimeni să fim o cultură mare

Dan Boicea notează în preambulul interviului preluat de pe site-ul ADEVĂRUL:

Silviu Purcărete (62 de ani) demontează uşor fiecare întrebare, regizându-şi abil ieşirea dintr-o situaţie care nu-i convine: nu-i place să dea interviuri. Nu i-a plăcut vreo jumătate de oră, timp în care a dat nişte titluri foarte bune de interviu: „Putem avea mândria de a fi la coada Europei", „Se ajunge mai uşor de la Paris la Bucureşti, decât de la Bucureşti la Iaşi", „Politicienii nu sunt mai demni de dispreţ decât noi", „«Reconstituirea» este capodopera filmului românesc", „Cultura română este o cultură minoră".

"Weekend Adevărul": Un personaj jucat de George Mihăiţă, din filmul „Undeva la Palilula", e alergat de lup prin pădure şi îşi ţine în piept înjurătura vreo doi kilometri, până ajunge în casă. Când se simte în siguranţă, pune zăvorul, apoi deschide uşa şi i-o spune lupului care nu mai poate să-l înhaţe. Metafora se dezvăluie imediat: înjurătura e o formă de revoltă împotriva sistemului. Dumneavoastră aţi înjurat de lup partidul comunist?

Silviu Purcărete: Nu ştiu ce să răspund la asta, pentru că e o metaforă care nu mi-a trecut niciodată prin cap.

Dar personajelor dumneavoastră le-a trecut. Pentru că pe uşă intră Troţki, interpretat de Constantin Chiriac, care întreabă: „De ce mă-njuri de lup, tovarăşu' Ilie? Iar Sorin Leoveanu completează: „Bine, mă, Ilie, dar ce faci, înjuri partidul de lup?".

Este o poveste absolut reală, o anecdotă a unui personaj la fel de real, pe care l-am citat, dar nu are nicio trimitere metaforică. E absurdă, de-a dreptul, şi are haz tocmai prin naivitatea şi prin tâmpenia ei inocentă. Dacă am înjurat pe vremuri? Sigur, toată lumea înjura regimul pe ascuns, după uşă, şi niciodată pe faţă. Aşa eram formataţi.

Există vreun dosar întocmit de Securitate, pe numele dumneavoastră? S-au dat note informative în care vă apare numele?

Habar n-am. Nu m-a interesat niciodată lucrul ăsta. Deocamdată, nu mi-a ajuns nimic la urechi.

Dar acum înjuraţi partidele care vin la putere prin rotaţie? Sau e inutil?

De un număr mare de ani, eu nu mai locuiesc în România. Sigur, vin destul de des şi nu sunt total deconectat de la situaţia de aici, dar sunt echilibrat hormonal în privinţa asta. Adică nu mă aflu în situaţia de a înjura şi de a exploda. Pentru că, din nefericire, peisajul politic românesc este deosebit de trist şi nu poate să provoace decât un dispreţ detaşat al tuturor celor din afară sau un dispreţ îndurerat al celor care sunt legaţi de această lume şi de această societate. Mă rog, acesta este destinul nostru. Politicienii nu sunt mai demni de dispreţ decât noi, toţi ceilalţi cetăţeni. Societatea noastră nu s-a copt şi n-a reuşit niciodată să atingă un prag de civilizaţie cât de cât acceptabil. A trăit printr-un soi de mimetism infantil toate formulele şi filosofiile politice ale Europei. Într-adevăr, situaţia arată foarte urât şi din afară se vede mai urât ca oricând. Dar, în continuare, putem avea mândria de a fi, totuşi, la coada Europei. Adică nu suntem pe la mijloc. Suntem ultimii. Le-am luat-o înainte până şi bulgarilor.

„Undeva la Palilula" s-a zbătut între elogii şi cronici defavorabile. Cum s-a aşezat acest film în mintea şi în sufletul dumneavoastră, după ce a trecut exaltarea de după?

E un lucru pe care l-am făcut şi la care ţin foarte mult. Dar acum mă ocup de alte lucruri, iar filmul are viaţa lui. Avantajul faţă de un spectacol de teatru este că el există undeva, fixat pe un material, şi când am chef mă pot întoarce la el şi mă pot uita. Un spectacol de teatru filmat e cu totul altceva, deşi e mai bine decât nimic.

Spuneaţi că după fiecare creaţie nouă vă apucă o stare de nemulţumire. Tot ce s-a întâmplat după debutul cinematografic vă dă curaj să mai faceţi un film?

Te cuprinde, mai degrabă, un soi de melancolie şi de plictis, o stare de detaşare imediată, cum e la anumite lehuze. Se produce o reacţie viscerală bizară, de desprindere. Apropo de faptul că Palilula a fost primită atât de rău...

...şi de bine...

Mă rog... În general, am văzut că filmul a fost respins cu agresivitate. Nu m-a mirat, pentru că foarte multe dintre acele reacţii le cunoşteam chiar înainte de a fi făcut filmul. Ştiam că o anumită parte a lor va avea un anume ton. Altfel, orice produs pe care îl faci şi care este public trebuie să stârnească reacţii. Fiecare este liber să spună ce vrea, iar eu niciodată nu comentez, pentru că nu mi se pare normal să răspund la ele. Şi asta nu e o problemă de eleganţă, ci de eficienţă. Dacă eu vând un kilogram de brânză care mie îmi place, iar cumpărătorul o scuipă, pentru că lui nu-i place, n-o să mă apuc să i-o bag cu forţa pe gât. Mi se pare stupid să reacţionez la luări de poziţie, fie ele profesioniste sau nu. Să mai fac sau nu film? Deocamdată nu am niciun fel de proiect. În orice caz, situaţia de după „Palilula" nu mă împinge la niciun fel de decizie, nici pro, nici contra. Dacă o să găsesc o idee să fac un film, în mod sigur îl voi face, dacă nu, nu!

Sunteţi un mare iubitor de cinema. Vă place în mod special vreun regizor român din noul val? E şi Purcărete fanul cuiva?

Nu pot să spun că sunt fan al cuiva. Mărturisesc că îmi plac regizorii mai bătrâni, de prin alte locuri, şi am admiraţii şi fanatisme cristalizate în tinereţe. Pentru că atunci devii fan. Atunci când îmbătrâneşti, devii mai sceptic şi mai analitic. Fără îndoială, există o generaţie de artişti tineri, foarte dotaţi şi care au reuşit să se impună. Sunt nişte oameni care au produs lucruri valoroase într-un moment prielnic şi care şi-au gestionat bine energia şi capacităţile creatoare. Nu ştiu dacă e vorba de o şcoală, iar Noul Cinema e o doar formulă. Mi-a plăcut foarte mult, într-adevăr, „Moartea domnului Lăzărescu", de Cristi Puiu. Am văzut şi fragmente din „Aurora", dar încă nu-l pot judeca. Mi-au mai plăcut „A fost sau n-a fost?", al lui Corneliu Porumboiu, un film plin de haz, şi „California dreamin'", al lui Cristian Nemescu, filmul lui neterminat.

Există vreo scenă puternică dintr-un film românesc, pe care v-ar fi plăcut să v-o imaginaţi dumneavoastră?

Nu ştiu dacă există o scenă anume, dar acum doi-trei ani am cumpărat DVD-ul şi am revăzut „Reconstituirea" lui Lucian Pintilie. Am avut inima destul de strânsă, pentru că, în 90% din cazuri, atunci când revezi capodoperele trecutului, îţi dai seama că nu mai rezistă. Eram nehotărât, „să-l văd, să nu-l văd", pentru că a fost un film care mi-a marcat tinereţea. Ei, vreau să spun că am constatat, chiar cu mai multă luciditate, că e o capodoperă. Nu că a trecut testul timpului, ci că l-a învins. Atunci, am văzut filmul şi l-am receptat cu un entuziasm de 100% şi cu fanatismul tinereţii. Mie mi se pare că este capodopera filmului românesc.

Spuneaţi despre cultura română că este o cultură minoră...

Nu eu spuneam!... Am citat chestia asta care se tot repetă. Este un loc comun că există culturi majore şi culturi minore. Sigur, este o generalizare nu foarte potrivită, pentru că generalizările nu sunt potrivite. Dar, asta este! Cultura română este o cultură minoră.

De ce să negăm? Aşa este!

E o naţiune care există de mai puţin de 200 de ani, care nu s-a alfabetizat niciodată complet, care a creat, e drept, neaşteptat de multe valori pentru un timp atât de scurt, dar care rămâne o cultură minoră, orice am face!

E vreo speranţă să ne ridicăm, cumva, deasupra acestei condiţii? Ce am putea face?

Staţi puţin, că interviul îl faceţi cu mine, nu cu Dumnezeu! De unde vreţi să ştiu eu ce trebuie făcut?! În primul rând ar trebui să nu ne mai tot preocupe ce ar trebui să facem! Obsesia noastră este să ne consumăm energia gândindu-ne ce să facem ca să avem o imagine bună. Eu cred că efortul ar trebui folosit către îmbunătăţirea României şi nu a imaginii României! Pentru că noi consumăm foarte multă energie şi foarte multă pasiune pentru lucruri de suprafaţă. M-aş bucura să avem o ţară minunată, cu o imagine foarte proastă decât un hârdău cu gunoi, cu o imagine strălucitoare. Chestia asta chiar nu contează. Astea sunt complexele culturii mici: ce ar fi să facem ca să fim o cultură mare! Dar nu ne obligă nimeni, fraţilor!

Cum credeţi că s-a schimbat strategia Institutului Cultural Român, de la Patapievici la Marga

Habar n-am! N-am trăit aici, n-am urmărit... Pot să spun un singur lucru. În ultimii ani, având legătură cu diverse centre ale ICR-ului, am fost absolut încântat şi minunat de calitatea nemaipomenită a activităţilor. Era foarte bine! Nu ştiu ce s-a întâmplat apoi şi cum s-au schimbat lucrurile. Nu cunosc bârfele şi sforile. Cine ştie, poate ăştia care vin acum sunt şi mai deştepţi! Oricum, nu ştiu de ce au fost ceilalţi schimbaţi. Desigur, noua politică şi noua conducere sper să poată să fie măcar la nivelul celei de dinainte. Eu nu-i cunosc. Rămâne de văzut ce fac, îi priveşte. Doar că există un precedent, un nivel foarte ridicat la care a fost dus ICR-ul de către conducerea anterioară, iar cei de acum trebuie să ajungă măcar până acolo!

Într-o filmare de la making of-ul filmului „Undeva la Palilula", apăreţi în cadru mergând pe jos, fumând o ţigară, cărând un scaun de plastic şi citind absorbit ultima pagină din ziarul „Libertatea". E o imagine amuzantă. Voluptatea lecturii presei tabloide vă dă soluţii pentru anumite scene din spectacole, vă ajută să alipiţi unor personaje un anumit tip de cultură?

Ei, nimerisem şi eu un ziar... Cine ştie ce poze erau pe copertă? Sigur că există un soi de perversitate scatofilă a omului, că altfel nu pot numi impulsul de a citi aşa ceva. Uneori sunt distractive, două-trei secunde. Nu era lectura mea permanentă şi nu în ele încerc să-mi găsesc sursele de inspiraţie.

Aţi fost ocupat, în ultima perioadă, să montaţi, la Nancy, spectacolul „Artaserse", opera barocă a lui Leonardo Vinci, la Opéra national de Lorraine. Cum arată produsul final?

Spectacolul a fost făcut pentru a se juca de cinci ori. S-a jucat, deci s-a încheiat. Ultimul spectacol a fost transmis de canalul TV Mezzo, care s-ar putea să-l dea şi în reluare. Este o operă barocă, scrisă la începutul secolului al XVIII-lea, în Italia, într-un anumit stil, de acest compozitor celebru al epocii, Leonardo Vinci. Persoană care, bineînţeles, nu are nicio legătură cu Leonardo da Vinci. Leonardo Vinci era un star al epocii şi a murit foarte tânăr, imediat după premiera acestei opere, într-o perioadă în care Opera, în Italia, în Roma şi în Napoli era dominată de castraţi. Prin interdicţie papală, femeile n-aveau voie să apară pe scenă. Iar producţia actuală a avut ca scop să refacă un pic acea atmosferă. Aşa că toate rolurile sunt jucate de bărbaţi, de cinci contra-tenori şi un tenor, mari vedete ale momentului. Sigur, asta a însemnat o atracţie uriaşă pentru iubitorii operei, pentru că a fost un lucru foarte special. Ei au făcut şi un CD înainte. Din păcate, s-a jucat doar de cinci ori, pentru că aşa e în Occident, sunt proiecte desfăşurate în perioade fixe de timp.

Mâncarea este o parte importantă a spectacolelor dumneavoastră, de la „Cumnata lui Pantagruel", un adevărat festin de butaforie gastronomică, continuând cu „D'ale carnavalului", în care se fac mici la grătar, şi până la „Călătoriile lui Gulliver". De unde vine această fascinaţie pentru mâncare?

Asta întrebaţi-i pe critici! Mie nu mi se pare că este atât de evidentă. În „Pantagruel" nu este vorba despre asta, iar în „Gulliver" scena în care este gătit bebeluşul apare în textul lui Swift. Era vorba de „O propunere modestă" („A Modest Proposal"), în care autorul arăta cât de interesant ar fi să se gătească copiii mici, din mediul sărac, în restaurantele Irlandei. Ideea nu era culinară, ci mai degrabă socială. Cred că aceste observaţii legate de excesul culinar în piesele mele reprezintă un fel de clişeu repetat în general de acei oameni care, cunoscându-mă, şi văzând că sunt foarte gras, obligatoriu fac această legătură. Mie nu mi se pare că este chiar aşa. Mici pe scenă s-au mai văzut în vreo 500 de spectacole, mai ales la Caragiale. De la vestita „Scrisoare pierdută" a lui Ciulei, în care se mâncau mici pe scenă. În „Cumnata lui Pantagruel" mă refeream la cu totul altceva, la corpul omenesc şi la funcţiile lui, printre care se numără şi cea a hrănirii. Singurele spectacole pe care le-am făcut, în care este expusă tema mâncării, au fost cele inspirate din „1001 de nopţi", în care, într-adevăr, erau scene declarate, închinate festinului.

Sunteţi mare bucătar, aşa cum spune prietenul dumneavoastră, scenograful Dragoş Buhagiar?

Buhagiar găteşte mult mai bine decât mine şi cu mult mai multă plăcere, dar el, fiind mult mai slab, nu e privit în niciun fel. Cât despre mine, văzându-mă mai gras, lumea spune că gătesc şi că mănânc toată ziua.

Nu cred!

Sigur că aşa este! Chiar ăsta e adevărul! Nu e nicio supărare în chestia asta. Uneori îmi face plăcere să gătesc pentru prieteni, mai ales atunci când lucrăm. Dar, de aici, până la a vorbi de o pasiune pentru gătit, e mult!

L-am întrebat pe Silviu Purcărete cum a ajuns să monteze „Conul Leonida faţă cu reacţiunea", la Teatrul Naţional din Bucureşti, un spectacol care îi are în rolurile principale pe Mariana Mihuţ şi pe Victor Rebengiuc. Regizorul a mărturisit că a mai lucrat cu cei doi actori, iar spectacolul i-a fost propus de Ion Caramitru, directorul Teatrului Naţional.

„Mie nu-mi face niciun fel de plăcere să lucrez în Bucureşti, dar am acceptat să montez aici doar datorită stimei pentru Caramitru. Nu voiam să-l refuz, şi a mai fost şi vorba de Mariana Mihuţ şi de Victor Rebengiuc. Dar, în continuare, cred că mă voi abţine să mai lucrez vreodată în Bucureşti", a spus regizorul.

Numele: Silviu Purcărete

Data şi locul naşterii: 5 aprilie 1950, la Bucureşti

Studiile: a absolvit secţia de regie a IATC-ului în 1974

Spectacole-reper: „Romeo şi Julieta", „Miles Gloriosus", „Piticul din grădina de vară", „Ubu Rex cu scene din Macbeth", „Titus Andronicus",„Phaedra", „Danaidele", „Orestia", „Cum doriţi sau Noaptea de la spartul târgului", „Măsură pentru măsură"

Locuieşte în: Franţa

Articolul a fost publicat de ADEVĂRUL

Asculta azi Loreena

Loreena Mckennitt - The Lady Of Shalott (live, Nights from the Alhambra)

Loreena McKennitt sings „The Lady Of Shalott” (1842 edition) - a poem by Alfred Lord Tennyson.

„Nights from the Alhambra” is a live album and DVD from the Canadian singer, songwriter, accordionist, harpist, and pianist, Loreena McKennitt and is her first live concert DVD.

It was recorded in September 2006, live on location at the Palace of Charles V, in the Alhambra, Granada, Spain, and released commercially in September 2007.

The lyrics are:

On either side of the river lie

Long fields of barley and of rye,

That clothe the world and meet the sky;

And thro' the field the road run by

To many-towered Camelot;

And up and down the people go,

Gazing where the lilies blow

Round an island there below,

The island of Shalott.

Willows whiten, aspens quiver,

Little breezes dusk and shiver

Thro' the wave that runs for ever

By the island in the river

Flowing down to Camelot.

Four grey walls, and four grey towers,

Overlook a space of flowers,

And the silent isle imbowers

The Lady of Shalott.

Only reapers, reaping early,

In among the bearded barley

Hear a song that echoes cheerly

From the river winding clearly

Down to tower'd Camelot;

And by the moon the reaper weary,

Piling sheaves in uplands airy,

Listening, whispers "'tis the fairy

The Lady of Shalott."

There she weaves by night and day

A magic web with colours gay,

She has heard a whisper say,

A curse is on her if she stay

To look down to Camelot.

She knows not what the curse may be,

And so she weaveth steadily,

And little other care hath she,

The Lady of Shalott.

And moving through a mirror clear

That hangs before her all the year,

Shadows of the world appear.

There she sees the highway near

Winding down to Camelot;

And sometimes thro' the mirror blue

The Knights come riding two and two.

She hath no loyal Knight and true,

The Lady Of Shalott.

But in her web she still delights

To weave the mirror's magic sights,

For often thro' the silent nights

A funeral, with plumes and lights

And music, went to Camelot;

Or when the Moon was overhead,

Came two young lovers lately wed.

"I am half sick of shadows," said

The Lady Of Shalott.

A bow-shot from her bower-eaves,

He rode between the barley sheaves,

The sun came dazzling thro' the leaves,

And flamed upon the brazen greaves

Of bold Sir Lancelot.

A red-cross knight for ever kneel'd

To a lady in his shield,

That sparkled on the yellow field,

Beside remote Shalott.

His broad clear brow in sunlight glow'd;

On burnish'd hooves his war-horse trode;

From underneath his helmet flow'd

His coal-black curls as on he rode,

As he rode back to Camelot.

From the bank and from the river

he flashed into the crystal mirror,

"Tirra Lirra," by the river

Sang Sir Lancelot.

She left the web, she left the loom,

She made three paces taro' the room,

She saw the water-lily bloom,

She saw the helmet and the plume,

She looked down to Camelot.

Out flew the web and floated wide;

The mirror cracked from side to side;

"The curse is come upon me," cried

The Lady of Shalott.

In the stormy east-wind straining,

The pale yellow woods were waning,

The broad stream in his banks complaining.

Heavily the low sky raining

Over towered Camelot;

Down she came and found a boat

Beneath a willow left afloat,

And round about the prow she wrote

The Lady of Shalott

And down the river's dim expanse

Like some bold seer in a trance,

Seeing all his own mischance -

With a glassy countenance

Did she look to Camelot.

And at the closing of the day

She loosed the chain and down she lay;

The broad stream bore her far away,

The Lady of Shalott.

Heard a carol, mournful, holy,

Chanted loudly, chanted lowly,

Till her blood was frozen slowly,

And her eyes were darkened wholly,

Turn'd to towered Camelot.

For ere she reach'd upon the tide

The first house by the water-side,

Singing in her song she died,

The Lady of Shalott.

Under tower and balcony,

By garden-wall and gallery,

A gleaming shape she floated by,

Dead-pale between the houses high,

Silent into Camelot.

Out upon the wharfs they came,

Knight and Burgher, Lord and Dame,

And round the prow they read her name,

The Lady of Shalott.

Who is this? And what is here?

And in the lighted palace near

Died the sound of royal cheer;

And they crossed themselves for fear,

All the Knights at Camelot;

But Lancelot mused a little space

He said, "She has a lovely face;

God in his mercy lend her grace,

The Lady of Shalott.

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Purcărete: nu ne obligă nimeni să fim o cultură mare

Articolul a fost publicat de ADEVĂRUL

Asculta azi Loreena

Loreena Mckennitt - The Lady Of Shalott (live, Nights from the Alhambra)

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