Festival Evora Classica

Guillaume Pelloux exhibition

juan — 2010-07-06T13:16:08Z

The Palácio Cadaval presents, for the first time in Portugal, 23 works of Guillaume Pelloux. This artist has always been fascinated by history, the royal personages, fashion and women's bodies, all of which have a special place in his work. The works of Guillaume are presented in the imposing rooms of the Palácio Cadaval, which is at the same time a cultural shock and a harmonious provocation. An exhibition not to be missed.

It is open every day except Monday, from 9:00 a.m. to 12:30 p.m. and 2:00 p.m. to 6:00 p.m.

Guillaume Pelloux exposição

juan — 2010-07-06T13:07:11Z

O Palácio Cadaval apresenta, pela primeira vez em Portugal, 23 obras de Guillaume Pelloux. Este artista sempre foi fascinado pela história os personagens reais e moda. Os corpos das mulheres têm também um lugar especial em seu trabalho. Guillaume está fascinado por sua beleza. As obras de Guillaume estão expostas nas imponentes salas do Palácio Cadaval um choque cultural e uma provocação harmoniosa. Uma exposição a não perder.

Está aberta todos os dias, excepto segunda-feira, 09:00 - 12:30 e 14:00 - 18:00.

Festival Évora Classica

oscim — 2010-06-06T08:54:17Z

OS ORIENTAIS

Naturalmente subversivo por entre os seus e em revolta contra todos os usos tradicionais, o etnógrafo mostra-se respeitoso até ao conservadorismo, sempre que a sociedade em questão aparenta ser diferente da sua".

Esta reflexão de Claude Lévi-Strauss, de quem festejamos este ano o centenário, está longe de ser desprovida de sentido. Depois de ter posto em questão uma sociedade julgada falsa nas suas convenções sociais, morais e religiosas, apareceu este fascínio por sociedades que tentam conservar uma herança oral e identitária face à razia da mundialização.

Antagonismo e esquizofrenia habitam o apaixonado pelo Oriente, tão fascinado pelas melopeias enrugadas de uma sanfona do deserto, como pelas proezas do som do I Phone.

Apesar de tudo isto, não nos iludamos, o mundo tradicional marginalizado pela nossa ideolatria consumista alimenta, antes de mais, do deserto do Rajastão às margens do mediterrâneo, o fabrico de imagens da indústria turística e das agências de viagens.

Os « Orientais de Évora », sempre à procura de outros mundos, propõem uma outra maneira de ouvir e apreender o mundo da música.

A música para muitas culturas é mais do que um divertimento e tem dentro dela as raízes profundas da emoção e da espiritualidade, do rito e do quotidiano.

As músicas que apresentamos no nosso Festival são bastante festivas e joviais mas são também um testemunho das grandes civilizações orais, da diversidade das expressões artísticas humanas e da verdade de um modo de vida onde a natureza ainda tem sentido.

Assim, o Festival Évora Clássica é um dos raros festivais em Portugal a oferecer espectáculos que, como esta cidade, pertencem ao património da humanidade, expressões artísticas que, em breve, terão talvez completamente desaparecido.

Este ano, para lá do seu ambiente caloroso e tradicional, o Festival convidará o público para uma viagem, que vai do coração da Ásia até ao Mediterrâneo.

Prazer para os olhos e para os ouvidos, refinamento de um gesto coreográfico ou de uma voz cristalina ou enrugada como o sopro do vento, os cantos e músicas de tradição, simultaneamente terrestres e celestes, transportam o corpo e a alma, quer sejam mediterrânicos ou orientais.

Rising Stars

oscim — 2010-06-05T08:02:48Z

Indian Night An encounter with a new generation of artists; heirs to the music and classical dance of India from north to south.

Chennaï

Baratha Natyam dance : Rama Vaidyanathan

The «bansuri» flute : Pandit Rajan Guruvayur Srikrishnan Vanarasi

Bharata Natyam dance has evolved between the strength of tandava emotion and the lasya graceful gentleness: codified by the ancient Natya Shastra compilation, this is a soloist dance involving a very difficult technique that requires many years to learn. It brings every muscle of the body into play, especially those of the face, because the art of abhinaya, expression of the emotions and the feelings, is essential in every dance style in India. The style of Rama Vaidyanathan was forged with great masters, such as Yamini Krishnamurthy or Saroja Vaidyanathan, and revives with the grace and rigour of this art.

The "vamsa" flute : Pandit Rajan Guruvayur Srikrishnan

Just like the bamboo bansuri flute, the “venu” or “vamsa” flute of Southern India, is the instrument par excellence for expressing the encounter between the divine and nature. The image of Lord Krishna enchanting the young gopi herdsmen with his higher melodies emphasises this image of a nature that invites each one the senses to contemplation. Just like a wise man sat beneath his tree, the master of wind instrument suggests ecstasy to our soul, that of the spirit that wanders in certain celestial spheres, that of the vital breath of prana.

Redwan Ensemble

oscim — 2010-06-05T08:02:28Z

led by Benkelfate Fayçal Sacred Arabo-andalus Music from Tlemcen – Argélia

Abû al-asân as-Shushturî (3rd Century)

So-called “ghartnati” (sung) Arabo-andalus music from the school of Tlemcen is one of the most sophisticated. Within it lies a Sufi poetry that has been transmitted for more than eight centuries, a poetry that has been brought by the great poets of this world of the word, which through the music genres of the Nuba, of the Sama and of the Awzi, praise the divine in search of an ecstasy magnified by an unreal and crystal clear voice. Eloquence, gentleness, passion, laceration of words, embody the peak of an oriental sensibility, in which a madness or wisdom, solitude or plenitude weave the weft of a musical and vocal art that continues to live thanks to the passion and the knowhow of a Maghreb society keen on preserving the mystic poetry of poets like Abû Médian Chu‘aïb (1126-1197), Ash-Shushturî (1212-1269), Lisân ad-Dîn Ibn al-Khatîb (1313-1374), Ibn Zumruk (1333-1398), Al-Mandasî (17th Century); or Ibn Trikî and Ibn Msâïb (13th Century).

The art of “Shehnai”

oscim — 2010-06-05T08:02:08Z

brothers Sanjeev & Ashwani Shankar

Kolkata

Kabir Time has long since passed in which the great dynasties of court musicians spread their art in the rooms of the great palaces of the Rajput maharajahs and the Mongol nawaabs. Today, the descendants of these great families of prestigious musicians live in the same suburban houses and in the same apartments like those in our European cities, in which neighbours and dusty staircase windows replace the plenitude of idyllic lakes that dotted the gardens of princes long ago and the murmuring of birds has made way for the anarchic hullabaloo of horns in Mumbai or Delhi. It is in this globalised world that young artists keep alive this grand music and also try to achieve the precious “rasa” flavour of a unique emotion.

Jugalbandi : Debapriya Adhykary, khyal singing Samanwaya Sarkar, sitar Madhurjya Barthakur, table The melodic duo form of jugalbandi is recent in its origins. Legendary masters including Bismillah Khan (shehnai) and Vilayat Khan (sitar) were the first to popularise it in the 1960s, as well as the equally famous Ravi Shankar (sitar) and Ali Akbar Khan (sarod), who together toured the globe. The singer Debapriya Adhykary, born in 1983, and sitar player Samanwaya, born in 1981, have received a very comprehensive traditional training since early childhood with great masters (Manilal Nag, the subtle sitar player, Girija Devi, the high priestess of song, or the singer Kumar Prasad Mukherjee). Making a name for themselves very early on, they have received many prizes in different contests throughout India, with the most prestigious awarded by All India Radio.

Gallery

oscim — 2010-06-05T08:01:17Z

Here is the link for YouTube for the website 2010

.

Program

oscim — 2010-06-05T08:00:33Z

July 8th

10pm Jardim do Paço

Redwan Ensemble led by Benkelfate Fayçal

Sacred Arabo-andalus Music from Tlemcen – Algeria

July 9th

10pm Jardim do Paço

Rising Stars

Indian Night

An encounter with a new generation of artists; heirs to the music and classical dance of India from north to south.

Rama Vaidyanathan, Baratha Natyam dance (Chennaï)

Pandit Rajan Guruvayur Srikrishnan, The “vamsa” flute

July 10th

10pm Jardim do Paço

The art of « Shenaï » brothers Sanjeev & Ashwani Shankar Kolkata Kabir

Jugalbandi : Debapriya Adhykary, khyal singing — Samanwaya Sarkar, sitar — Madhurjya Barthakur, table

From 26 june to 26 september 2010

Guillaume Pelloux exhibition

at the 1st floor in the Palacio

The City of Evora

oscim — 2010-06-05T07:59:48Z

Roughly 150 km south east of Lisbon, Evora stands out quite distinctly on the vast horizon of the Alentejo plain, on the top of a gentle hill, dominated by its imposing cathedral. Its historical centre, protected by a vast ring of fortified walls, is typical of ''golden age'' cities, with its urban landscape exhibiting features from the architecture of countries in other continents where Portugal established a presence, particularly Brazil. The city has more than two millennia of history, its narrow streets evoking memories of the Moorish presence, in sharp contrast to its squares, which are flooded with sunlight. Definitively conquered by the Romans in 59 BC, it took the name of “Liberalitas Julia”. Dating from this time is its first city hall, which established its original perimeter.

Under the occupation of the Romans, Evora gained great importance as a city, a fact which is clearly borne out by the various remains from that period that are still visible today, particularly the ruins of a most elegant temple from the end of the second century AD, various sections of wall and the gate known as the Porta de Dona Isabel, as well as the ruins of the city's Roman baths under the present-day Town Hall.

There are very few remains left from the Visigothic period (between the fifth and the eighth century). After this came the period of Moorish domination, beginning with the conquest of the city by Tarik, which lasted until the Christian reconquest in the twelfth century. Yeborah, as the city became known, perfected its early defensive system and indelibly established traces of the Moorish influence in its toponymy, clearly visible in the Moorish quarter.

After the Christian reconquest, a new urban sprawl began to spread out from the city's gates and beyond the old wall. The city was chosen by several kings of Portugal in the first and second dynasties to serve as the headquarters for their court, and it was greatly enriched with palaces and monuments, especially in the reigns of D. Joao II and D. Manuel I (fifteenth and sixteenth centuries).

bandeira_aYou should begin your tour of the beautiful city of Evora with a visit to the cathedral a fortified church with a number of Gothic elements and the largest cathedral in Portugal. Outside, notice the two asymmetrical towers, one of which (the north tower) houses part of the valuable collection of the Sacred Art Museum. The main portal is flanked by a very expressive group of Apostles, seemingly inviting the visitor to enter.

Inside the cathedral, the nave and aisles end in the transept, with a beautiful dome above its crossing, which is a very rare feature in Portuguese churches. In the chancel, the high altar is a baroque reconstruction from the eighteenth century.

The nave contains the altar of Nossa Senhora do O (the Virgin Great with Child), whose multicoloured stone statue is matched by a statue of the Archangel Gabriel opposite. This latter figure is made of gilded wood and is attributed to Olivier of Ghent.

In the ''coro alto'' (upper choir) is a most valuable set of Renaissance choir stalls carved from oak. To their left is a sixteenth-century organ, the oldest one still in activity in Portugal.

Leaving the cathedral and turning right, you will find yourself in the square with the elegant Roman temple that is the city's most famous landmark. Opposite, the Pousada dos Loios has been installed in the restored building of the former Convento de Sao Joao Evangelista (fifteenth century), its pleasant atmosphere inviting you to rest awhile. Next door to this is the convent's church built at the end of the fifteenth century and well worth a visit. The Gothic doorway is the church's most notable feature, together with its covering of azulejos. Also in the vicinity is the Palacio dos Duques de Cadaval, surmounted by an imposing tower and a fine example of military architecture.

Festival Evora Classica

Guillaume Pelloux exhibition

Guillaume Pelloux exposição

Festival Évora Classica

OS ORIENTAIS

Rising Stars

Redwan Ensemble

The art of “Shehnai”

Gallery

.

.

Program

July 8th

July 9th

July 10th

From 26 june to 26 september 2010

Sponsors

The City of Evora