What makes a stadium cool
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Italy, Veneto, Verona
The Verona Arena (Italian: Arena di Verona) is a Roman amphitheatre in Piazza Bra in Verona, Italy, built in 30 AD. It is still in use and serves as a venue for large-scale opera performances. It is one of the best preserved ancient structures of its kind. In ancient times, the arena's capacity was nearly 30,000 people. The stage for concerts and opera performances decreases the available capacity to a maximum of 22,000.
Every year over 500,000 people see productions of the popular operas in this arena. The arena has featured many of world's most notable opera singers. In the post-World War II era, they have included Giuseppe Di Stefano, Maria Callas, Tito Gobbi and Renata Tebaldi among other names.
In recent times, the arena has also hosted several concerts of international rock and pop bands, among which Zucchero Fornaciari, Roger Waters, Bruce Springsteen, Elisa, Eros Ramazzotti, Laura Pausini, Pink Floyd, Alicia Keys, One Direction, Simple Minds, Duran Duran, Deep Purple, The Who, Dire Straits, Scatman John, Mike Oldfield, Rod Stewart, Michael Flatley, Yanni, Sting, Pearl Jam, Radiohead, Peter Gabriel, Björk, Eiffel 65, Muse, Leonard Cohen, Elton John, Paul McCartney, Jamiroquai, Whitney Houston, Mumford & Sons, Kiss, Spandau Ballet, 5 Seconds Of Summer, and Evanescence.
Pasquino the hunchback mustached holds the holy water (Paolo Orefice 1591) - Church Sant'Anastasia - Verona
La chiesa di Sant’Anastasia è uno splendido esempio di gotico italiano. Fu eretta a partire dal 1290 con il contributo della famiglia che governava la città, gli Scaligeri, e di altre famiglie veronesi. Prima dell’attuale edificio qui esistevano due chiese dedicate, una a Sant'Anastasia e l’altra a San Remigio.
Nel 1290 i domenicani chiamati a custodirle, decisero di costruire al loro posto un’unica chiesa dedicata a San Pietro da Verona detto anche San Pietro Martire, ma il popolo continuò a chiamarla Sant'Anastasia. Accanto alla chiesa i monaci domenicani avevano un grande convento.
L’opera di costruzione del sacro edificio continuò per tutto il 1300 e il 1400 e finalmente nel 1500 si ebbe l’ultima fase dei lavori per il suo completamento. La facciata è l'unico elemento mai portato a termine.
Sant’Anastasia è la chiesa più grande di Verona. La basilica si sviluppa in tre grandi navate sorrette da 12 imponenti colonne di marmo rosso di Verona. Sul transetto si aprono 5 cappelle. Sul lato sinistro si apre l’antico oratorio del convento, Cappella Giusti.
La chiesa, ricchissima di opere d’arte, custodisce anche il celebre affresco del Pisanello San Giorgio e la Principessa, tornato nella sua collocazione originaria sopra la Cappella Pellegrini.
All’esterno la facciata incompiuta con lo splendido portale gotico e la zona absidale, posta sulla riva del fiume Adige. All’interno: gli altari con le cappelle con opere di Pietro da Porlezza, Cattaneo, Michele da Firenze, Liberale da Verona, Girolamo Dai Libri, Giolfino, Brusasorzi, Altichiero, e Pisanello. All’ingresso i singolari gobbi che reggono l'acquasantiera.
The church of St. Anastasia is a fine example of Italian Gothic architecture. It was designed by two Dominican friars and work began on it as from 1290 AD. Work lasted throughout the 14th and 15th centuries and by the early years of the 16th century the final stages of building showed that the end was in sight. The only thing never to be completed was the façade. St. Anastasia is the largest church in Verona.
The Basilica extends over three large aisles supported by twelve impressive pillars in red Veronese marble. To the left of the transept a splendid marble entrance opens onto the Giusti chapel which was at one time the oratory of the Dominican monastery.
The church soars to a great height and the interior is impressive; it is virtually an art gallery which contains many of the works of art Masters often mentioned in art history books. The most important is Pisanello’s well known fresco (St. George and the Princess) above Pellegrini Chapel. Note outside he unfinished façade with the splendid Gothic portal. Inside, you can see altars and chapels with works by Pietro da Porlezza, Cattaneo, Michele da Firenze, LiIberale da Verona, Girolamo dai Libri, Giolfino, Brusasorzi, Altichiero and Pisanello; at the entrance the singular hunchbacks of the holy water stoup.
Vault of central nave - Church of St. Anastasia - Verona
La chiesa di Sant’Anastasia è uno splendido esempio di gotico italiano. Fu eretta a partire dal 1290 con il contributo della famiglia che governava la città, gli Scaligeri, e di altre famiglie veronesi. Prima dell’attuale edificio qui esistevano due chiese dedicate, una a Sant'Anastasia e l’altra a San Remigio.
Nel 1290 i domenicani chiamati a custodirle, decisero di costruire al loro posto un’unica chiesa dedicata a San Pietro da Verona detto anche San Pietro Martire, ma il popolo continuò a chiamarla Sant'Anastasia. Accanto alla chiesa i monaci domenicani avevano un grande convento.
L’opera di costruzione del sacro edificio continuò per tutto il 1300 e il 1400 e finalmente nel 1500 si ebbe l’ultima fase dei lavori per il suo completamento. La facciata è l'unico elemento mai portato a termine.
Sant’Anastasia è la chiesa più grande di Verona. La basilica si sviluppa in tre grandi navate sorrette da 12 imponenti colonne di marmo rosso di Verona. Sul transetto si aprono 5 cappelle. Sul lato sinistro si apre l’antico oratorio del convento, Cappella Giusti.
La chiesa, ricchissima di opere d’arte, custodisce anche il celebre affresco del Pisanello San Giorgio e la Principessa, tornato nella sua collocazione originaria sopra la Cappella Pellegrini.
All’esterno la facciata incompiuta con lo splendido portale gotico e la zona absidale, posta sulla riva del fiume Adige. All’interno: gli altari con le cappelle con opere di Pietro da Porlezza, Cattaneo, Michele da Firenze, Liberale da Verona, Girolamo Dai Libri, Giolfino, Brusasorzi, Altichiero, e Pisanello. All’ingresso i singolari gobbi che reggono l'acquasantiera.
The church of St. Anastasia is a fine example of Italian Gothic architecture. It was designed by two Dominican friars and work began on it as from 1290 AD. Work lasted throughout the 14th and 15th centuries and by the early years of the 16th century the final stages of building showed that the end was in sight. The only thing never to be completed was the façade. St. Anastasia is the largest church in Verona.
The Basilica extends over three large aisles supported by twelve impressive pillars in red Veronese marble. To the left of the transept a splendid marble entrance opens onto the Giusti chapel which was at one time the oratory of the Dominican monastery.
The church soars to a great height and the interior is impressive; it is virtually an art gallery which contains many of the works of art Masters often mentioned in art history books. The most important is Pisanello’s well known fresco (St. George and the Princess) above Pellegrini Chapel. Note outside he unfinished façade with the splendid Gothic portal. Inside, you can see altars and chapels with works by Pietro da Porlezza, Cattaneo, Michele da Firenze, LiIberale da Verona, Girolamo dai Libri, Giolfino, Brusasorzi, Altichiero and Pisanello; at the entrance the singular hunchbacks of the holy water stoup.
Soffitto della chiesa di Sant'Anastasia - Verona
La chiesa di Sant’Anastasia è uno splendido esempio di gotico italiano. Fu eretta a partire dal 1290 con il contributo della famiglia che governava la città, gli Scaligeri, e di altre famiglie veronesi. Prima dell’attuale edificio qui esistevano due chiese dedicate, una a Sant'Anastasia e l’altra a San Remigio.
Nel 1290 i domenicani chiamati a custodirle, decisero di costruire al loro posto un’unica chiesa dedicata a San Pietro da Verona detto anche San Pietro Martire, ma il popolo continuò a chiamarla Sant'Anastasia. Accanto alla chiesa i monaci domenicani avevano un grande convento.
L’opera di costruzione del sacro edificio continuò per tutto il 1300 e il 1400 e finalmente nel 1500 si ebbe l’ultima fase dei lavori per il suo completamento. La facciata è l'unico elemento mai portato a termine.
Sant’Anastasia è la chiesa più grande di Verona. La basilica si sviluppa in tre grandi navate sorrette da 12 imponenti colonne di marmo rosso di Verona. Sul transetto si aprono 5 cappelle. Sul lato sinistro si apre l’antico oratorio del convento, Cappella Giusti.
La chiesa, ricchissima di opere d’arte, custodisce anche il celebre affresco del Pisanello San Giorgio e la Principessa, tornato nella sua collocazione originaria sopra la Cappella Pellegrini.
All’esterno la facciata incompiuta con lo splendido portale gotico e la zona absidale, posta sulla riva del fiume Adige. All’interno: gli altari con le cappelle con opere di Pietro da Porlezza, Cattaneo, Michele da Firenze, Liberale da Verona, Girolamo Dai Libri, Giolfino, Brusasorzi, Altichiero, e Pisanello. All’ingresso i singolari gobbi che reggono l'acquasantiera.
The church of St. Anastasia is a fine example of Italian Gothic architecture. It was designed by two Dominican friars and work began on it as from 1290 AD. Work lasted throughout the 14th and 15th centuries and by the early years of the 16th century the final stages of building showed that the end was in sight. The only thing never to be completed was the façade. St. Anastasia is the largest church in Verona.
The Basilica extends over three large aisles supported by twelve impressive pillars in red Veronese marble. To the left of the transept a splendid marble entrance opens onto the Giusti chapel which was at one time the oratory of the Dominican monastery.
The church soars to a great height and the interior is impressive; it is virtually an art gallery which contains many of the works of art Masters often mentioned in art history books. The most important is Pisanello’s well known fresco (St. George and the Princess) above Pellegrini Chapel. Note outside he unfinished façade with the splendid Gothic portal. Inside, you can see altars and chapels with works by Pietro da Porlezza, Cattaneo, Michele da Firenze, LiIberale da Verona, Girolamo dai Libri, Giolfino, Brusasorzi, Altichiero and Pisanello; at the entrance the singular hunchbacks of the holy water stoup.
Church and bell tower of St. Anastasia (foreground)
La chiesa di Sant’Anastasia è uno splendido esempio di gotico italiano. Fu eretta a partire dal 1290 con il contributo della famiglia che governava la città, gli Scaligeri, e di altre famiglie veronesi. Prima dell’attuale edificio qui esistevano due chiese dedicate, una a Sant'Anastasia e l’altra a San Remigio.
Nel 1290 i domenicani chiamati a custodirle, decisero di costruire al loro posto un’unica chiesa dedicata a San Pietro da Verona detto anche San Pietro Martire, ma il popolo continuò a chiamarla Sant'Anastasia. Accanto alla chiesa i monaci domenicani avevano un grande convento.
L’opera di costruzione del sacro edificio continuò per tutto il 1300 e il 1400 e finalmente nel 1500 si ebbe l’ultima fase dei lavori per il suo completamento. La facciata è l'unico elemento mai portato a termine.
Sant’Anastasia è la chiesa più grande di Verona. La basilica si sviluppa in tre grandi navate sorrette da 12 imponenti colonne di marmo rosso di Verona. Sul transetto si aprono 5 cappelle. Sul lato sinistro si apre l’antico oratorio del convento, Cappella Giusti.
La chiesa, ricchissima di opere d’arte, custodisce anche il celebre affresco del Pisanello San Giorgio e la Principessa, tornato nella sua collocazione originaria sopra la Cappella Pellegrini.
All’esterno la facciata incompiuta con lo splendido portale gotico e la zona absidale, posta sulla riva del fiume Adige. All’interno: gli altari con le cappelle con opere di Pietro da Porlezza, Cattaneo, Michele da Firenze, Liberale da Verona, Girolamo Dai Libri, Giolfino, Brusasorzi, Altichiero, e Pisanello. All’ingresso i singolari gobbi che reggono l'acquasantiera.
The church of St. Anastasia is a fine example of Italian Gothic architecture. It was designed by two Dominican friars and work began on it as from 1290 AD. Work lasted throughout the 14th and 15th centuries and by the early years of the 16th century the final stages of building showed that the end was in sight. The only thing never to be completed was the façade. St. Anastasia is the largest church in Verona.
The Basilica extends over three large aisles supported by twelve impressive pillars in red Veronese marble. To the left of the transept a splendid marble entrance opens onto the Giusti chapel which was at one time the oratory of the Dominican monastery.
The church soars to a great height and the interior is impressive; it is virtually an art gallery which contains many of the works of art Masters often mentioned in art history books. The most important is Pisanello’s well known fresco (St. George and the Princess) above Pellegrini Chapel. Note outside he unfinished façade with the splendid Gothic portal. Inside, you can see altars and chapels with works by Pietro da Porlezza, Cattaneo, Michele da Firenze, LiIberale da Verona, Girolamo dai Libri, Giolfino, Brusasorzi, Altichiero and Pisanello; at the entrance the singular hunchbacks of the holy water stoup.
funeral monument of Cortesia Serego (by Pietro di Niccolò Lamberti 1425-1426) - left side of the presbytery - Church Sant'Anastasia - Verona
La chiesa di Sant’Anastasia è uno splendido esempio di gotico italiano. Fu eretta a partire dal 1290 con il contributo della famiglia che governava la città, gli Scaligeri, e di altre famiglie veronesi. Prima dell’attuale edificio qui esistevano due chiese dedicate, una a Sant'Anastasia e l’altra a San Remigio.
Nel 1290 i domenicani chiamati a custodirle, decisero di costruire al loro posto un’unica chiesa dedicata a San Pietro da Verona detto anche San Pietro Martire, ma il popolo continuò a chiamarla Sant'Anastasia. Accanto alla chiesa i monaci domenicani avevano un grande convento.
L’opera di costruzione del sacro edificio continuò per tutto il 1300 e il 1400 e finalmente nel 1500 si ebbe l’ultima fase dei lavori per il suo completamento. La facciata è l'unico elemento mai portato a termine.
Sant’Anastasia è la chiesa più grande di Verona. La basilica si sviluppa in tre grandi navate sorrette da 12 imponenti colonne di marmo rosso di Verona. Sul transetto si aprono 5 cappelle. Sul lato sinistro si apre l’antico oratorio del convento, Cappella Giusti.
La chiesa, ricchissima di opere d’arte, custodisce anche il celebre affresco del Pisanello San Giorgio e la Principessa, tornato nella sua collocazione originaria sopra la Cappella Pellegrini.
All’esterno la facciata incompiuta con lo splendido portale gotico e la zona absidale, posta sulla riva del fiume Adige. All’interno: gli altari con le cappelle con opere di Pietro da Porlezza, Cattaneo, Michele da Firenze, Liberale da Verona, Girolamo Dai Libri, Giolfino, Brusasorzi, Altichiero, e Pisanello. All’ingresso i singolari gobbi che reggono l'acquasantiera.
The church of St. Anastasia is a fine example of Italian Gothic architecture. It was designed by two Dominican friars and work began on it as from 1290 AD. Work lasted throughout the 14th and 15th centuries and by the early years of the 16th century the final stages of building showed that the end was in sight. The only thing never to be completed was the façade. St. Anastasia is the largest church in Verona.
The Basilica extends over three large aisles supported by twelve impressive pillars in red Veronese marble. To the left of the transept a splendid marble entrance opens onto the Giusti chapel which was at one time the oratory of the Dominican monastery.
The church soars to a great height and the interior is impressive; it is virtually an art gallery which contains many of the works of art Masters often mentioned in art history books. The most important is Pisanello’s well known fresco (St. George and the Princess) above Pellegrini Chapel. Note outside he unfinished façade with the splendid Gothic portal. Inside, you can see altars and chapels with works by Pietro da Porlezza, Cattaneo, Michele da Firenze, LiIberale da Verona, Girolamo dai Libri, Giolfino, Brusasorzi, Altichiero and Pisanello; at the entrance the singular hunchbacks of the holy water stoup.
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Ceiling of the St. Anastasia Church - Verona
La chiesa di Sant’Anastasia è uno splendido esempio di gotico italiano. Fu eretta a partire dal 1290 con il contributo della famiglia che governava la città, gli Scaligeri, e di altre famiglie veronesi. Prima dell’attuale edificio qui esistevano due chiese dedicate, una a Sant'Anastasia e l’altra a San Remigio.
Nel 1290 i domenicani chiamati a custodirle, decisero di costruire al loro posto un’unica chiesa dedicata a San Pietro da Verona detto anche San Pietro Martire, ma il popolo continuò a chiamarla Sant'Anastasia. Accanto alla chiesa i monaci domenicani avevano un grande convento.
L’opera di costruzione del sacro edificio continuò per tutto il 1300 e il 1400 e finalmente nel 1500 si ebbe l’ultima fase dei lavori per il suo completamento. La facciata è l'unico elemento mai portato a termine.
Sant’Anastasia è la chiesa più grande di Verona. La basilica si sviluppa in tre grandi navate sorrette da 12 imponenti colonne di marmo rosso di Verona. Sul transetto si aprono 5 cappelle. Sul lato sinistro si apre l’antico oratorio del convento, Cappella Giusti.
La chiesa, ricchissima di opere d’arte, custodisce anche il celebre affresco del Pisanello San Giorgio e la Principessa, tornato nella sua collocazione originaria sopra la Cappella Pellegrini.
All’esterno la facciata incompiuta con lo splendido portale gotico e la zona absidale, posta sulla riva del fiume Adige. All’interno: gli altari con le cappelle con opere di Pietro da Porlezza, Cattaneo, Michele da Firenze, Liberale da Verona, Girolamo Dai Libri, Giolfino, Brusasorzi, Altichiero, e Pisanello. All’ingresso i singolari gobbi che reggono l'acquasantiera.
The church of St. Anastasia is a fine example of Italian Gothic architecture. It was designed by two Dominican friars and work began on it as from 1290 AD. Work lasted throughout the 14th and 15th centuries and by the early years of the 16th century the final stages of building showed that the end was in sight. The only thing never to be completed was the façade. St. Anastasia is the largest church in Verona.
The Basilica extends over three large aisles supported by twelve impressive pillars in red Veronese marble. To the left of the transept a splendid marble entrance opens onto the Giusti chapel which was at one time the oratory of the Dominican monastery.
The church soars to a great height and the interior is impressive; it is virtually an art gallery which contains many of the works of art Masters often mentioned in art history books. The most important is Pisanello’s well known fresco (St. George and the Princess) above Pellegrini Chapel. Note outside he unfinished façade with the splendid Gothic portal. Inside, you can see altars and chapels with works by Pietro da Porlezza, Cattaneo, Michele da Firenze, LiIberale da Verona, Girolamo dai Libri, Giolfino, Brusasorzi, Altichiero and Pisanello; at the entrance the singular hunchbacks of the holy water stoup.
Miniscalchi altar - The descent of the Holy Spirit - Fresco by Francesco Morone (1471-1529) - Church St. Anastasia Verona
La chiesa di Sant’Anastasia è uno splendido esempio di gotico italiano. Fu eretta a partire dal 1290 con il contributo della famiglia che governava la città, gli Scaligeri, e di altre famiglie veronesi. Prima dell’attuale edificio qui esistevano due chiese dedicate, una a Sant'Anastasia e l’altra a San Remigio.
Nel 1290 i domenicani chiamati a custodirle, decisero di costruire al loro posto un’unica chiesa dedicata a San Pietro da Verona detto anche San Pietro Martire, ma il popolo continuò a chiamarla Sant'Anastasia. Accanto alla chiesa i monaci domenicani avevano un grande convento.
L’opera di costruzione del sacro edificio continuò per tutto il 1300 e il 1400 e finalmente nel 1500 si ebbe l’ultima fase dei lavori per il suo completamento. La facciata è l'unico elemento mai portato a termine.
Sant’Anastasia è la chiesa più grande di Verona. La basilica si sviluppa in tre grandi navate sorrette da 12 imponenti colonne di marmo rosso di Verona. Sul transetto si aprono 5 cappelle. Sul lato sinistro si apre l’antico oratorio del convento, Cappella Giusti.
La chiesa, ricchissima di opere d’arte, custodisce anche il celebre affresco del Pisanello San Giorgio e la Principessa, tornato nella sua collocazione originaria sopra la Cappella Pellegrini.
All’esterno la facciata incompiuta con lo splendido portale gotico e la zona absidale, posta sulla riva del fiume Adige. All’interno: gli altari con le cappelle con opere di Pietro da Porlezza, Cattaneo, Michele da Firenze, Liberale da Verona, Girolamo Dai Libri, Giolfino, Brusasorzi, Altichiero, e Pisanello. All’ingresso i singolari gobbi che reggono l'acquasantiera.
The church of St. Anastasia is a fine example of Italian Gothic architecture. It was designed by two Dominican friars and work began on it as from 1290 AD. Work lasted throughout the 14th and 15th centuries and by the early years of the 16th century the final stages of building showed that the end was in sight. The only thing never to be completed was the façade. St. Anastasia is the largest church in Verona.
The Basilica extends over three large aisles supported by twelve impressive pillars in red Veronese marble. To the left of the transept a splendid marble entrance opens onto the Giusti chapel which was at one time the oratory of the Dominican monastery.
The church soars to a great height and the interior is impressive; it is virtually an art gallery which contains many of the works of art Masters often mentioned in art history books. The most important is Pisanello’s well known fresco (St. George and the Princess) above Pellegrini Chapel. Note outside he unfinished façade with the splendid Gothic portal. Inside, you can see altars and chapels with works by Pietro da Porlezza, Cattaneo, Michele da Firenze, LiIberale da Verona, Girolamo dai Libri, Giolfino, Brusasorzi, Altichiero and Pisanello; at the entrance the singular hunchbacks of the holy water stoup.
St. George and the Princess 1433-1438 (Antonio di Puccio Pisano, known as Pisanello 1390-1455) - Pellegrini Chapel - Church Sant'Anastasia - Verona
La chiesa di Sant’Anastasia è uno splendido esempio di gotico italiano. Fu eretta a partire dal 1290 con il contributo della famiglia che governava la città, gli Scaligeri, e di altre famiglie veronesi. Prima dell’attuale edificio qui esistevano due chiese dedicate, una a Sant'Anastasia e l’altra a San Remigio.
Nel 1290 i domenicani chiamati a custodirle, decisero di costruire al loro posto un’unica chiesa dedicata a San Pietro da Verona detto anche San Pietro Martire, ma il popolo continuò a chiamarla Sant'Anastasia. Accanto alla chiesa i monaci domenicani avevano un grande convento.
L’opera di costruzione del sacro edificio continuò per tutto il 1300 e il 1400 e finalmente nel 1500 si ebbe l’ultima fase dei lavori per il suo completamento. La facciata è l'unico elemento mai portato a termine.
Sant’Anastasia è la chiesa più grande di Verona. La basilica si sviluppa in tre grandi navate sorrette da 12 imponenti colonne di marmo rosso di Verona. Sul transetto si aprono 5 cappelle. Sul lato sinistro si apre l’antico oratorio del convento, Cappella Giusti.
La chiesa, ricchissima di opere d’arte, custodisce anche il celebre affresco del Pisanello San Giorgio e la Principessa, tornato nella sua collocazione originaria sopra la Cappella Pellegrini.
All’esterno la facciata incompiuta con lo splendido portale gotico e la zona absidale, posta sulla riva del fiume Adige. All’interno: gli altari con le cappelle con opere di Pietro da Porlezza, Cattaneo, Michele da Firenze, Liberale da Verona, Girolamo Dai Libri, Giolfino, Brusasorzi, Altichiero, e Pisanello. All’ingresso i singolari gobbi che reggono l'acquasantiera.
The church of St. Anastasia is a fine example of Italian Gothic architecture. It was designed by two Dominican friars and work began on it as from 1290 AD. Work lasted throughout the 14th and 15th centuries and by the early years of the 16th century the final stages of building showed that the end was in sight. The only thing never to be completed was the façade. St. Anastasia is the largest church in Verona.
The Basilica extends over three large aisles supported by twelve impressive pillars in red Veronese marble. To the left of the transept a splendid marble entrance opens onto the Giusti chapel which was at one time the oratory of the Dominican monastery.
The church soars to a great height and the interior is impressive; it is virtually an art gallery which contains many of the works of art Masters often mentioned in art history books. The most important is Pisanello’s well known fresco (St. George and the Princess) above Pellegrini Chapel. Note outside he unfinished façade with the splendid Gothic portal. Inside, you can see altars and chapels with works by Pietro da Porlezza, Cattaneo, Michele da Firenze, LiIberale da Verona, Girolamo dai Libri, Giolfino, Brusasorzi, Altichiero and Pisanello; at the entrance the singular hunchbacks of the holy water stoup.
Hunchback holds the holy water - dating back to 1495 and attributed to Gabriele Caliari (Paolo's father, said "the Veronese") - Church of St. Anastasia Verona
La chiesa di Sant’Anastasia è uno splendido esempio di gotico italiano. Fu eretta a partire dal 1290 con il contributo della famiglia che governava la città, gli Scaligeri, e di altre famiglie veronesi. Prima dell’attuale edificio qui esistevano due chiese dedicate, una a Sant'Anastasia e l’altra a San Remigio.
Nel 1290 i domenicani chiamati a custodirle, decisero di costruire al loro posto un’unica chiesa dedicata a San Pietro da Verona detto anche San Pietro Martire, ma il popolo continuò a chiamarla Sant'Anastasia. Accanto alla chiesa i monaci domenicani avevano un grande convento.
L’opera di costruzione del sacro edificio continuò per tutto il 1300 e il 1400 e finalmente nel 1500 si ebbe l’ultima fase dei lavori per il suo completamento. La facciata è l'unico elemento mai portato a termine.
Sant’Anastasia è la chiesa più grande di Verona. La basilica si sviluppa in tre grandi navate sorrette da 12 imponenti colonne di marmo rosso di Verona. Sul transetto si aprono 5 cappelle. Sul lato sinistro si apre l’antico oratorio del convento, Cappella Giusti.
La chiesa, ricchissima di opere d’arte, custodisce anche il celebre affresco del Pisanello San Giorgio e la Principessa, tornato nella sua collocazione originaria sopra la Cappella Pellegrini.
All’esterno la facciata incompiuta con lo splendido portale gotico e la zona absidale, posta sulla riva del fiume Adige. All’interno: gli altari con le cappelle con opere di Pietro da Porlezza, Cattaneo, Michele da Firenze, Liberale da Verona, Girolamo Dai Libri, Giolfino, Brusasorzi, Altichiero, e Pisanello. All’ingresso i singolari gobbi che reggono l'acquasantiera.
The church of St. Anastasia is a fine example of Italian Gothic architecture. It was designed by two Dominican friars and work began on it as from 1290 AD. Work lasted throughout the 14th and 15th centuries and by the early years of the 16th century the final stages of building showed that the end was in sight. The only thing never to be completed was the façade. St. Anastasia is the largest church in Verona.
The Basilica extends over three large aisles supported by twelve impressive pillars in red Veronese marble. To the left of the transept a splendid marble entrance opens onto the Giusti chapel which was at one time the oratory of the Dominican monastery.
The church soars to a great height and the interior is impressive; it is virtually an art gallery which contains many of the works of art Masters often mentioned in art history books. The most important is Pisanello’s well known fresco (St. George and the Princess) above Pellegrini Chapel. Note outside he unfinished façade with the splendid Gothic portal. Inside, you can see altars and chapels with works by Pietro da Porlezza, Cattaneo, Michele da Firenze, LiIberale da Verona, Girolamo dai Libri, Giolfino, Brusasorzi, Altichiero and Pisanello; at the entrance the singular hunchbacks of the holy water stoup.
Ceiling with representations of St. Peter Martyr - Church Sant'anastasia - Verona
La chiesa di Sant’Anastasia è uno splendido esempio di gotico italiano. Fu eretta a partire dal 1290 con il contributo della famiglia che governava la città, gli Scaligeri, e di altre famiglie veronesi. Prima dell’attuale edificio qui esistevano due chiese dedicate, una a Sant'Anastasia e l’altra a San Remigio.
Nel 1290 i domenicani chiamati a custodirle, decisero di costruire al loro posto un’unica chiesa dedicata a San Pietro da Verona detto anche San Pietro Martire, ma il popolo continuò a chiamarla Sant'Anastasia. Accanto alla chiesa i monaci domenicani avevano un grande convento.
L’opera di costruzione del sacro edificio continuò per tutto il 1300 e il 1400 e finalmente nel 1500 si ebbe l’ultima fase dei lavori per il suo completamento. La facciata è l'unico elemento mai portato a termine.
Sant’Anastasia è la chiesa più grande di Verona. La basilica si sviluppa in tre grandi navate sorrette da 12 imponenti colonne di marmo rosso di Verona. Sul transetto si aprono 5 cappelle. Sul lato sinistro si apre l’antico oratorio del convento, Cappella Giusti.
La chiesa, ricchissima di opere d’arte, custodisce anche il celebre affresco del Pisanello San Giorgio e la Principessa, tornato nella sua collocazione originaria sopra la Cappella Pellegrini.
All’esterno la facciata incompiuta con lo splendido portale gotico e la zona absidale, posta sulla riva del fiume Adige. All’interno: gli altari con le cappelle con opere di Pietro da Porlezza, Cattaneo, Michele da Firenze, Liberale da Verona, Girolamo Dai Libri, Giolfino, Brusasorzi, Altichiero, e Pisanello. All’ingresso i singolari gobbi che reggono l'acquasantiera.
The church of St. Anastasia is a fine example of Italian Gothic architecture. It was designed by two Dominican friars and work began on it as from 1290 AD. Work lasted throughout the 14th and 15th centuries and by the early years of the 16th century the final stages of building showed that the end was in sight. The only thing never to be completed was the façade. St. Anastasia is the largest church in Verona.
The Basilica extends over three large aisles supported by twelve impressive pillars in red Veronese marble. To the left of the transept a splendid marble entrance opens onto the Giusti chapel which was at one time the oratory of the Dominican monastery.
The church soars to a great height and the interior is impressive; it is virtually an art gallery which contains many of the works of art Masters often mentioned in art history books. The most important is Pisanello’s well known fresco (St. George and the Princess) above Pellegrini Chapel. Note outside he unfinished façade with the splendid Gothic portal. Inside, you can see altars and chapels with works by Pietro da Porlezza, Cattaneo, Michele da Firenze, LiIberale da Verona, Girolamo dai Libri, Giolfino, Brusasorzi, Altichiero and Pisanello; at the entrance the singular hunchbacks of the holy water stoup.
detail of the tomb of Federico Cavalli (1390) Cappella Cavalli - Santa Anastasia - Verona
La chiesa di Sant’Anastasia è uno splendido esempio di gotico italiano. Fu eretta a partire dal 1290 con il contributo della famiglia che governava la città, gli Scaligeri, e di altre famiglie veronesi. Prima dell’attuale edificio qui esistevano due chiese dedicate, una a Sant'Anastasia e l’altra a San Remigio.
Nel 1290 i domenicani chiamati a custodirle, decisero di costruire al loro posto un’unica chiesa dedicata a San Pietro da Verona detto anche San Pietro Martire, ma il popolo continuò a chiamarla Sant'Anastasia. Accanto alla chiesa i monaci domenicani avevano un grande convento.
L’opera di costruzione del sacro edificio continuò per tutto il 1300 e il 1400 e finalmente nel 1500 si ebbe l’ultima fase dei lavori per il suo completamento. La facciata è l'unico elemento mai portato a termine.
Sant’Anastasia è la chiesa più grande di Verona. La basilica si sviluppa in tre grandi navate sorrette da 12 imponenti colonne di marmo rosso di Verona. Sul transetto si aprono 5 cappelle. Sul lato sinistro si apre l’antico oratorio del convento, Cappella Giusti.
La chiesa, ricchissima di opere d’arte, custodisce anche il celebre affresco del Pisanello San Giorgio e la Principessa, tornato nella sua collocazione originaria sopra la Cappella Pellegrini.
All’esterno la facciata incompiuta con lo splendido portale gotico e la zona absidale, posta sulla riva del fiume Adige. All’interno: gli altari con le cappelle con opere di Pietro da Porlezza, Cattaneo, Michele da Firenze, Liberale da Verona, Girolamo Dai Libri, Giolfino, Brusasorzi, Altichiero, e Pisanello. All’ingresso i singolari gobbi che reggono l'acquasantiera.
The church of St. Anastasia is a fine example of Italian Gothic architecture. It was designed by two Dominican friars and work began on it as from 1290 AD. Work lasted throughout the 14th and 15th centuries and by the early years of the 16th century the final stages of building showed that the end was in sight. The only thing never to be completed was the façade. St. Anastasia is the largest church in Verona.
The Basilica extends over three large aisles supported by twelve impressive pillars in red Veronese marble. To the left of the transept a splendid marble entrance opens onto the Giusti chapel which was at one time the oratory of the Dominican monastery.
The church soars to a great height and the interior is impressive; it is virtually an art gallery which contains many of the works of art Masters often mentioned in art history books. The most important is Pisanello’s well known fresco (St. George and the Princess) above Pellegrini Chapel. Note outside he unfinished façade with the splendid Gothic portal. Inside, you can see altars and chapels with works by Pietro da Porlezza, Cattaneo, Michele da Firenze, LiIberale da Verona, Girolamo dai Libri, Giolfino, Brusasorzi, Altichiero and Pisanello; at the entrance the singular hunchbacks of the holy water stoup.
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interior of the church of St. Anastasia - Verona
La chiesa di Sant’Anastasia è uno splendido esempio di gotico italiano. Fu eretta a partire dal 1290 con il contributo della famiglia che governava la città, gli Scaligeri, e di altre famiglie veronesi. Prima dell’attuale edificio qui esistevano due chiese dedicate, una a Sant'Anastasia e l’altra a San Remigio.
Nel 1290 i domenicani chiamati a custodirle, decisero di costruire al loro posto un’unica chiesa dedicata a San Pietro da Verona detto anche San Pietro Martire, ma il popolo continuò a chiamarla Sant'Anastasia. Accanto alla chiesa i monaci domenicani avevano un grande convento.
L’opera di costruzione del sacro edificio continuò per tutto il 1300 e il 1400 e finalmente nel 1500 si ebbe l’ultima fase dei lavori per il suo completamento. La facciata è l'unico elemento mai portato a termine.
Sant’Anastasia è la chiesa più grande di Verona. La basilica si sviluppa in tre grandi navate sorrette da 12 imponenti colonne di marmo rosso di Verona. Sul transetto si aprono 5 cappelle. Sul lato sinistro si apre l’antico oratorio del convento, Cappella Giusti.
La chiesa, ricchissima di opere d’arte, custodisce anche il celebre affresco del Pisanello San Giorgio e la Principessa, tornato nella sua collocazione originaria sopra la Cappella Pellegrini.
All’esterno la facciata incompiuta con lo splendido portale gotico e la zona absidale, posta sulla riva del fiume Adige. All’interno: gli altari con le cappelle con opere di Pietro da Porlezza, Cattaneo, Michele da Firenze, Liberale da Verona, Girolamo Dai Libri, Giolfino, Brusasorzi, Altichiero, e Pisanello. All’ingresso i singolari gobbi che reggono l'acquasantiera.
The church of St. Anastasia is a fine example of Italian Gothic architecture. It was designed by two Dominican friars and work began on it as from 1290 AD. Work lasted throughout the 14th and 15th centuries and by the early years of the 16th century the final stages of building showed that the end was in sight. The only thing never to be completed was the façade. St. Anastasia is the largest church in Verona.
The Basilica extends over three large aisles supported by twelve impressive pillars in red Veronese marble. To the left of the transept a splendid marble entrance opens onto the Giusti chapel which was at one time the oratory of the Dominican monastery.
The church soars to a great height and the interior is impressive; it is virtually an art gallery which contains many of the works of art Masters often mentioned in art history books. The most important is Pisanello’s well known fresco (St. George and the Princess) above Pellegrini Chapel. Note outside he unfinished façade with the splendid Gothic portal. Inside, you can see altars and chapels with works by Pietro da Porlezza, Cattaneo, Michele da Firenze, LiIberale da Verona, Girolamo dai Libri, Giolfino, Brusasorzi, Altichiero and Pisanello; at the entrance the singular hunchbacks of the holy water stoup.
Devido ao sucesso em sua primeira edição em Lajeado (RS), a Mostra Fotográfica "Bicho de Rua" agora chega ao município de Torres (RS). Com o objetivo de conscientizar adultos e crianças, o evento procura mostrar um lado de nossas cidades a que geralmente não damos atenção: animais que vivem nas ruas, ou mesmo em casas, mas que não são tratados com o devido respeito e dignidade.
A campanha busca mostrar às pessoas a importância da adoção de um bicho de rua, de como podemos ajudar com gestos simples. O ato de adotar um animal requer amor e consciência. Ao saírem de uma situação de abandono e desprezo para o convívio e aceitação em um lar, estes demonstram, tanto quanto nós, a felicidade, gratidão e paz de um relacionamento respeitoso.
A Mostra conta com fotografias de Carolina Leipnitz, Fernanda Melonio, Ivânia Trento, Eduardo Costa, Aline Gobbi, Heinz Schnack e Daniele Spohr. Como na primeira edição, o evento auxiliará uma instituição local protetora dos animais: Associação Torrense de Proteção aos Animais (ATPA). A exposição conta com o apoio da Ecotorres (Cooperativa de Consumidores de Produtos Ecológicos de TORRES) e patrocínio de H.Meyer, Impacto Signs e do site JazzMan!.
Serviço
Onde: Vanilla Caffé – R. Joaquim Porto, 556 – Centro – Torres (RS)
Quando: a partir de 22/02.
Giuseppe de Gobbis (fl. 1772-1783) - A music party
www.bonhams.com/auction/20016/lot/88/giuseppe-de-gobbis-a...
A classic recipe from the Emilia-Romagna region of northern Italy, a quintessential Italian dish. Ragù alla Bolognese or bolognaise sauce as it is known outside of Italy, is one of the world’s most popular pasta sauces. Unfortunately, the international version of Bolognese is very different to the traditional sauce eaten by the people born and raised in Emilia-Romagna, where it has been enjoyed on Sundays and at festivals for centuries. Ragù alla Bolognese can be served with short pasta, like maccheroni, rigatoni or gobbi. But the best and most traditional ways to taste this great sauce is with homemade tagliatelle, or in lasagne alla Bolognese.
For this recipe, please go to:
creativeelegancecatering.blogspot.com/2025/02/bolognese-r...
For hundreds more delicious recipes and mouthwatering food images, please go to:
Verona - Piazza Bra und Arena
Piazza Bra, often shortened to Bra, is the largest piazza in Verona, Italy, with some claims that it is the largest in the country. The piazza is lined with numerous cafés and restaurants, along with several notable buildings. The Verona Arena, an amphitheatre built nearly 2000 years ago, is now a world-famous music venue with regular operatic and contemporary music performances. Verona's town hall, the Palazzo Barbieri, also looks out across the piazza.
Architecture
Verona Arena
The building itself was built in the first century AD on a site then beyond the city walls. The ludi (shows and games) staged there were so famous that spectators came from many other places, often far away, to witness them. While it can now host crowds of up to 22,000, the original amphitheatre could seat 30,000 spectators. The arena has been used by many contemporary performers including Pink Floyd, Rod Stewart, Elton John, and Muse. It has also hosted numerous operas, including in 1946 Ponchielli's La Gioconda which saw the debut of Maria Callas.
Gran Guardia
Palazzo della Gran Guardia, was the first building erected on the southern edge of Bra. It was originally designed by Domenico Curtoni as a roof built from the existing wall out to several pillars. Leonardo Donato, 90th Doge of Venice, had requested an area for troops to shelter in poor weather. Work commenced in 1610 but stopped when there was a shortfall in available funds. Nearly 200 years later, in 1808, architect Giuseppe Barbieri was commissioned to design and complete the project but it was a further 45 years before it was finished.
The building is now used as a venue for conferences, meetings, and exhibitions.
Palazzo Barbieri
Palazzo Barbieri is Verona's town hall. Originally named Palazzo della Gran Guardia Nuova, it was designed by Giuseppe Barbieri and was later named in his honour. Construction began in 1836 and was completed by 1848.
(Wikipedia)
The Verona Arena (Italian: Arena di Verona [aˈrɛːna di veˈroːna, aˈreːna -]) is a Roman amphitheatre in Piazza Bra in Verona, Italy built in 30 AD. It is still in use today and is internationally famous for the large-scale opera performances given there. It is one of the best preserved ancient structures of its kind. In ancient times, the arena's capacity was nearly 30,000 people. The stage for concerts and opera performances decreases the available places to a maximum of 15,000. It will be used as the closing ceremony venue for the 2026 Winter Olympics and two weeks later will be used for the Opening Ceremony for the 2026 Winter Paralympics in Milan and Cortina d'Ampezzo.
Amphitheatre
The building itself was built in AD 30 on a site which was then beyond the city walls. The ludi (shows and games) staged there were so famous that spectators came from many other places, often far away, to witness them.[citation needed] The amphitheatre could host more than 30,000 spectators in ancient times.
The round facade of the building was originally composed of white and pink limestone from Valpolicella, but after a major earthquake in 1117, which almost completely destroyed the structure's outer ring, except for the so-called "ala" (wing), the stone was quarried for re-use in other buildings. Nevertheless, it impressed medieval visitors to the city, one of whom considered it to have been a labyrinth, without ingress or egress. Ciriaco d'Ancona was filled with admiration for the way it had been built and Giovanni Antonio Panteo's civic panegyric De laudibus veronae, 1483, remarked that it struck the viewer as a construction that was more than human.
Opera venue
The first interventions to recover the arena's function as an opera venue began during the Renaissance. Some operatic performances were later mounted in the building during the 1850s, owing to its outstanding acoustics.
In 1913, operatic performances in the arena commenced in earnest due to the zeal and initiative of the Italian opera tenor Giovanni Zenatello and the impresario Ottone Rovato. The first 20th-century operatic production at the arena, a staging of Giuseppe Verdi's Aida, took place on 10 August of that year, to mark the birth of Verdi 100 years before in 1813. Musicians Puccini and Mascagni were in attendance. Since then, summer seasons of opera have been mounted continually at the arena, except in 1915–18 and 1940–45, when Europe was convulsed in war.
In modern times, at least four productions (sometimes up to six) are mounted each year between June and August. During the winter months, the local opera and ballet companies perform at the Teatro Filarmonico.
Modern-day travellers are advised that admission tickets to sit on the arena's stone steps are much cheaper to buy than tickets giving access to the padded chairs available on lower levels. Candles are distributed to the audience and lit after sunset around the arena.
Every year over 500,000 people see productions of the popular operas in this arena. Once capable of housing 20,000 patrons per performance (now limited to 15,000 because of safety reasons), the arena has featured many of world's most notable opera singers. In the post-World War II era, they have included Giuseppe Di Stefano, Maria Callas, Tito Gobbi and Renata Tebaldi among other names. A number of conductors have appeared there, too. The official arena shop has historical recordings made by some of them available for sale.
The opera productions in the Verona Arena had not used any microphones or loudspeakers until a sound reinforcement system was installed in 2011.
Arena di Verona Festival
Arena di Verona Festival is a summer festival of opera, inaugurated in 1913 with Giuseppe Verdi's Aida, to celebrate the centenary of the artist's birth.
Other uses
In recent times, the arena has also hosted several concerts of international rock and pop bands, among which Zucchero Fornaciari, who holds the record of the highest number of concerts in the location, 38 from 1989 to 2017, and the highest number of concerts during the same tour, 22 of the Black Cat World Tour, Roger Waters, Bruce Springsteen, Elisa, Eros Ramazzotti, Laura Pausini, Pink Floyd, Alicia Keys, One Direction, Simple Minds (whose concert film Verona was filmed at the venue during their Street Fighting Years Tour on 15 September 1989) Duran Duran, Deep Purple, The Who, Dire Straits, Mike Oldfield, Rod Stewart, Michael Flatley, Sting, Pearl Jam, Radiohead, Peter Gabriel, Björk, Muse, Leonard Cohen, Paul McCartney, Jamiroquai, Whitney Houston, Mumford & Sons, Kiss, Spandau Ballet, 5 Seconds Of Summer, 2Cellos and Evanescence.
In 1981, 1984, 2010 and 2019 it hosted the podium and presentation of the Giro d'Italia with thousands packing the arena to watch the prizes being handed out.
(Wikipedia)
Die historische Altstadt von Verona ist 2000 in die Liste des UNESCO-Welterbes aufgenommen worden.
Die Stadt wurde im 1. Jahrhundert v. Chr. gegründet, sie blühte besonders auf unter der Herrschaft der Scaliger im 13. und 14. Jahrhundert n. Chr. und als ein Teil der Republik von Venedig vom 15. bis 18. Jahrhundert n. Chr. In Verona sind eine bemerkenswert große Zahl von Denkmälern des Altertums, des Mittelalters und des Zeitalters der Renaissance erhalten geblieben. Sie ist ebenfalls ein hervorragendes Beispiel für eine militärische Festungsanlage, die zwei Jahrtausende in Gebrauch war.
Zusammenfassung der Stadtentwicklung
Die Stadt liegt in Norditalien am Fluss Etsch (italienisch Adige) und am Fuß der Lessinischen Alpen. Der Siedlungsplatz geht auf prähistorische Zeiten zurück, eine kleine Siedlung entwickelte sich zwischen dem 4. und 3. Jahrhundert v. Chr. und wurde ein römisches Municipium im 1. Jahrhundert v. Chr.; danach wuchs seine Bedeutung rasch an. Während des 5. Jahrhunderts n. Chr. wurde Verona vom Ostgoten Theoderich I. erobert, später von den Langobarden und 774 von Karl dem Großen.
Im frühen 12. Jahrhundert wurde es eine unabhängige Kommune, die unter der Signoria der Scaliger und besonders unter Cangrande I. aufblühte. 1495 fiel sie an Venedig, ab 1797 wurde sie ein Teil des Habsburger Reichs und gelangte 1866 nach dem Dritten Italienischen Unabhängigkeitskrieg zum Königreich Italien.
Die Altstadt
Der Kern der Altstadt besteht aus der römischen Siedlung, die sich in den Flussbogen der Etsch schmiegt und eine der umfangreichsten Ansammlungen römischer Relikte in Norditalien enthält. Erhalten gebliebene Reste der Antike sind:
das Stadttor Porta Borsari,
die Reste der Porta Leoni, beide Tore sind die augenfälligsten Überreste der römischen Stadtmauer von Verona
der Arco dei Gavi, der in der Napoleonischen Zeit abgebaut und nahe dem Castelvecchio in den 1930er Jahren wieder aufgebaut wurde,
die Ponte Pietra,
das römische Theater und
das Amphitheater Arena.
Die Scaliger bauten die Mauern während des Mittelalters wieder auf, die dann ein viel größeres Gebiet im Westen und ein weiteres ausgedehntes Gebiet am Ostufer des Flusses umschlossen. In diesen Grenzen blieb die Stadt bis zum 20. Jahrhundert.
Das Herz von Verona ist das Ensemble, das aus der Piazza delle Erbe (mit seinem malerischen Obst- und Gemüsemarkt) und der Piazza dei Signori besteht, mit historischen Gebäuden wie dem Palazzo del Comune, dem Palazzo del Governo, der Loggia del Consiglio, den Arche Scaligere und dem Domus Nova. Die Piazza Bra besitzt eine Reihe von Bauwerken, die aus verschiedenen Epochen stammen.
Veronas erhalten gebliebene Architektur und Stadtstruktur spiegeln die Entwicklung einer befestigten Stadt mit einer 2000-jährigen Geschichte wider.
Unversehrtheit, Unverfälschtheit und Schutz der Welterbe-Stadt
Die folgenden Eigenschaften eines Welterbe-Objekts werden zusammengefasst für Verona wie folgt beurteilt:
Unversehrtheit
Die Unversehrtheit des Stadtbilds von Verona wird als außergewöhnlich hoch und die Struktur als recht homogen eingeschätzt. Auch die Schäden, die während des Zweiten Weltkriegs auftraten, wurden mit äußerster Sorgfalt behoben. Bedrohungen dieser Unversehrtheit durch Überschwemmungen wurden frühzeitig minimiert und für ein Erdbeben besteht ein geringes Risiko.
Unverfälschtheit
Die Echtheit und Unverfälschtheit der Altstadt von Verona ist hoch. Was zum Beispiel die Befestigungen der Stadt betrifft, so ist dieses Verteidigungssystem gut über die verschiedenen Zeiträume der militärischen Nutzung bewahrt worden. Man wandte nach dem Zweiten Weltkrieg die eingeführten Grundsätze der Restaurierung an, die seit der Mitte des 19. Jahrhunderts in Italien zur Tradition geworden sind.
Schutz und Denkmal-Management
Viele Institutionen kümmern sich um den Schutz des Welterbes und die gelisteten Gebäude und Denkmäler werden durch ein staatliches Schutzgesetz für das Kulturerbe und beauftragte Superintendanten überwacht und abgesichert. Es gibt ein UNESCO-Büro zur Koordination und es herrscht eine gute Zusammenarbeit zwischen allen Institutionen.
(Wikipedia)
Die Arena von Verona (italienisch Arena di Verona) ist ein gut erhaltenes römisches Amphitheater im historischen Zentrum der italienischen Stadt Verona. Sie ist ein Symbol der venetischen Stadt zusammen mit den Figuren von Romeo und Julia. Es handelt sich um eines der großen Gebäude, die charakteristisch für die römische Architektur sind, und eines der antiken Amphitheater, das dank der systematischen Restaurierungen seit dem 16. Jahrhundert am besten erhalten geblieben ist. Gerade aus diesem Grund erlaubt es trotz der zahlreichen Veränderungen dem Besucher sich die Struktur von dieser Art von Gebäuden leicht vorzustellen, die strikt der Funktion, für die sie bestimmt waren, unterworfen wurde, und dennoch von grundlegender Schönheit ist.
Beschreibung
Ursprünglich hatte die Arena eine Größe von 152 Meter × 113 Meter. Verblieben sind noch 138 Meter × 109 Meter, bei einer Höhe von genau 24,1 Meter. Damit ist die Arena in Verona immer noch – nach dem Kolosseum in Rom und der Arena von Capua – das drittgrößte der erhaltenen antiken Amphitheater. Die 45 Stufenränge des Zuschauerraums sind jeweils etwa 45 Zentimeter hoch und tief und bieten 22.000 Zuschauern Platz.
Geschichte
Das Amphitheater wurde etwa im Jahr 30 n. Chr. außerhalb der römischen Stadtmauern errichtet. Es fasste über 30.000 Zuschauer und wurde für Gladiatorenkämpfe und Wettkämpfe genutzt. Die Fassade war mit weißem und rosa Kalkstein verkleidet. 265 wurde unter Kaiser Gallienus die bestehende Stadtmauer um die Arena herum verlängert.
Vielfach wurde angenommen, dass der größte Teil des Außenrings bei einem Erdbeben im Jahr 1117 zerstört wurde. Archäologische Funde von markierten Steinen des äußeren Ringes haben jedoch gezeigt, dass bereits der Ostgotenkönig Theoderich nach der Inbesitznahme der Stadt 489 den Außenring einreißen ließ und die Steine zum Aufbau seiner neuen Stadtmauer verwendete. Wahrscheinlich wurde der Ring auch aus militärischen Gründen abgerissen, da die Arena die Stadtmauern sonst um einiges zu überragen drohte.
Auch später noch diente das Bauwerk als Steinbruch für die wachsende mittelalterliche Stadt. Von den ursprünglich 72 Bögen des Außenrings sind nur noch vier erhalten. Sie werden von den Veronesern „l’ala“ – der Flügel – genannt. Im Jahr 1278 war die Arena der Schauplatz der letzten großen Katharer-Hinrichtung: Nach den Erfolgen der Inquisition in den 1250er Jahren in Südfrankreich in deren Kampf gegen die Katharer zogen sich die Überlebenden nach Norditalien zurück. Sie fanden in Sirmione eine letzte Zufluchtsstätte. 1276 wurden sie von Alberto I. della Scala im Auftrag des Veroneser Bischofs in Sirmione gefangen genommen und 1278 in der Arena von Verona verbrannt.
In der Renaissance gab es Bestrebungen, das Bauwerk wieder als Theater zu nutzen. Dies geschieht aber erst seit 1913 regelmäßig. Am 10. August 1913 wurde anlässlich des 100. Geburtstags von Giuseppe Verdi die Oper Aida aufgeführt. Aufgrund der hervorragenden Akustik konnte sich die Arena schnell als Konzertstätte etablieren. Vor allem in den Monaten Juni, Juli und August finden Opernaufführungen und Rock-Konzerte statt, während im Frühjahr und Herbst viele internationale Sänger und Musiker hier Station machen, wie Gianna Nannini, Adriano Celentano, Zucchero, Bryan Adams, Bon Jovi, Brian May & Kerry Ellis oder Bruce Springsteen.
(Wikipedia)
Zürichs erstes grosses Theater war das von der Theater-Actiengesellschaft Zürich gegründete und am 10. November 1834 eröffnete Actientheater mit 800 Plätzen in der umgebauten Kirche des ehemaligen Barfüsserklosters am Hirschengraben. Damit verfügte die Stadt erstmals über eine ständige Spielstätte für wandernde Theatergruppen. Nach Glanzzeiten unter der Direktion Charlotte Birch-Pfeiffers (1837–1843) und während des Zürcher Aufenthaltes von Richard Wagner, der zwischen 1849 und 1855 fremde und eigene Werke dirigierte und inszenierte, brannte das Haus in der Neujahrsnacht von 1889/1890 vollständig aus.
Nach Plänen des im Theaterbau erfahrenen Wiener Architektenbüros Fellner und Helmer wurde das heutige Bauwerk, das ursprünglich für Krakau geplant und bereits baureif ausgearbeitet war, in kurzer Zeit errichtet.[2] Heute ist der Bau im kantonalen Inventar für Denkmalpflege aufgeführt.[3] Es ist weitgehend baugleich mit dem Kroatischen Nationaltheater Zagreb (1894) und dem 1892/1894 errichteten Hoftheater in Wiesbaden, heute Hessisches Staatstheater Wiesbaden. Es wurde am 30. September 1891 eingeweiht und am Folgetag mit einer Aufführung von Wagners Lohengrin eröffnet. In den Anfangszeiten diente es als Musik- und Sprechtheater, konzentrierte sich aber nach dem Bau des Schauspielhauses im Jahr 1926 auf Oper, Operette und Ballett.
Die Geschichte des Zürcher Opernhauses ist reich an Höhepunkten: Hier begann beispielsweise die Karriere von Wilhelm Furtwängler, und 1913 wurde Richard Wagners Parsifal erstmals ausserhalb von Bayreuth gegeben.[4] Komponisten wie Ferruccio Busoni, Paul Hindemith, Richard Strauss, Othmar Schoeck, Arthur Honegger, Frank Martin beeinflussten das Zürcher Musik- und Theaterleben. Zahlreiche Erst- und Uraufführungen fanden am Zürcher Opernhaus statt. Alban Bergs Lulu, Paul Hindemiths Mathis der Maler, Arnold Schönbergs Moses und Aron wurden hier erstmals aufgeführt, ebenso Werke von Heinrich Sutermeister, Giselher Klebe und Rudolf Kelterborn.
Der 1980 vom Zürcher Stadtrat genehmigte Beitrag von 60 Millionen Franken für die Renovation des Opernhauses und des Erweiterungsbaus am Uto-Quai war der Auslöser der als Opernhauskrawalle in die Geschichte eingegangenen Jugendunruhen in der Schweiz 1980–1982. 1982 bis 1984 wurde das Haus umgebaut, erweitert und renoviert; in einem modernen Anbau ist seither das Bernhard-Theater untergebracht. Im Dezember 1984 wurde das Haus mit Wagners Die Meistersinger von Nürnberg und der Uraufführung von Kelterborns Oper nach Anton Tschechows Der Kirschgarten eröffnet.
In der Vergangenheit traten bekannte Sänger wie Sári Barabás, Lisa della Casa, Kirsten Flagstad, Reri Grist, Mirella Freni, Tito Gobbi, Alfredo Kraus, James McCracken, Nikolaj Gjaurow oder Wolfgang Windgassen hier auf. Agnes Baltsa, Edita Gruberová, Cecilia Bartoli, Vesselina Kasarova, Anja Silja, Elena Moșuc, Francisco Araiza, Renato Bruson, Thomas Hampson, Alfred Muff, Leo Nucci, Ruggero Raimondi, Matti Salminen und Neil Shicoff waren Mitglieder des Ensembles. Aktuell gehören unter anderem Julie Fuchs, Rachel Harnisch, Marina Rebeka, Pavol Breslik, Ruben Drole und Mauro Peter zum Ensemble.
Neben den Musiktheater- und Ballettaufführungen veranstaltet das Opernhaus Zürich immer wieder philharmonische Konzerte, Matineen, Liederabende, Produktionen auf der Studiobühne, Aufführungen für Kinder sowie Jazzkonzerte. Jedes Jahr findet im März zudem der Opernball statt, an dem viel Prominenz aus der Unterhaltungsbranche, Wirtschaft, Sport und Politik teilnimmt. Seit September 2012 wird jede Saison mit einem Tag der offenen Tür eröffnet, zudem wird unter dem Titel Oper für alle jede Saison eine Opernaufführung live auf eine Leinwand auf dem Sechseläutenplatz übertragen (erstmals im Juni 2014).
French postcard by Humour a la Carte, Paris, no. ST-148. Photo: Christophe Lambert in Greystoke: The Legend of Tarzan, Lord of the Apes (Hugh Hudson, 1984).
French, American-born actor Christophe or Christopher Lambert (1957) is known for his good looks, gravelly, raspy voice and his unsettling eyes. His best-known roles are Tarzan, Lord of the Apes in Greystoke (1984) and the immortal Connor MacLeod in the Highlander film series (1986-2000). He was also the hero of countless futuristic action films, that often went straight to video.
Christophe Guy Denis Lambert was born in Great Neck, Long Island, New York in 1957. His mother was a French psychiatrist and his father was a French diplomat stationed in the US at the United Nations at the time of Lambert's birth. His family left the US when he was only two years old after his father was assigned by the UN to Switzerland. Christophe was educated at private boarding schools in Geneva. At the age of 12, he appeared in a play. At 16, he moved to Paris. Lambert worked with the London Stock Exchange and served in the French military, both allegedly at his father's insistence. Then he studied at the Paris Conservatoire for two years. He made his film debut with a small role in the comedy Ciao, les mecs/Ciao, You Guys (Sergio Gobbi, 1979) with Charles Aznavour. He soon appeared in more films but did not become a star until he played the leading role in Warner Brothers’ lush epic Greystoke: The Legend of Tarzan, Lord of the Apes (Hugh Hudson, 1984). In this English-language film, he was credited as Christopher Lambert but in French-speaking countries, he would remain known as Christophe Lambert. His Greystoke co-stars included Andie MacDowell, Ian Holm, James Fox and Ralph Richardson in his final film performance. Tarzan buffs liked the film for remaining quite faithful to Edgar Rice Burroughs' original story. Looking as good in period costumes as he did in a scanty loincloth, Lambert also became the newest sex symbol in France. That same year he also had his first lead role in a French film, opposite Catherine Deneuve in Paroles et musique/Love Songs (Élie Chouraqui, 1984). Then he played the male lead in the excellent thriller Subway (Luc Besson, 1985) opposite Isabelle Adjani, for which he was awarded a César Award for Best Actor. The intense gaze he showed in these and many later roles is the result of myopia at an early age. Myopia is a condition that causes the eyes to focus incorrectly, making distant objects appear blurred. He cannot see without his glasses, and because he cannot wear contact lenses, he is often forced to act while virtually blind. This has led to injuries while performing his own stunts without glasses.
In 1986, Christopher Lambert played his most famous role: the immortal Connor MacLeod, a sword-wielding Scotsman born in the Highlands of Scotland in 1518, who finds himself fighting evil in modern-day New York. Highlander (Russell Mulcahy, 1986), co-starring Sean Connery, was an international success. However, upon initial US release, it was not well-received, but it gained wide and persistent popularity in Europe and on other markets, as well as on home video. It has since obtained status as a cult classic film, leading to four sequels, a television series, and various other spin-offs. Lambert appeared in the three sequels that were released in cinemas, Highlander II: The Quickening (Russell Mulcahy, 1991), Highlander III: The Sorcerer (Andrew Morahan, 1994) and Highlander: Endgame (2000, Douglas Aarniokoski). He was not in the TV film Highlander: The Source (Brett Leonard, 2007) made for the Sci-Fi Channel – and had only a cameo appearance in the pilot of the 1992 television series. His films after Highlander, such as I Love You (Marco Ferreri, 1986) and The Sicilian (Michael Cimino. 1987), in which he starred as Salvatore Giuliano, were less successful than his previous pictures. In To Kill a Priest (Agnieszka Holland, 1988), he played a character based on Jerzy Popiełuszko, the young Polish priest who spoke out against the Communist regime. The film was well-received by critics but was a financial failure.
During the 1990s, Christopher Lambert starred in action and science fiction films such as the thriller Knight Moves (Carl Schenkel, 1992) with Diane Lane, Fortress (Stuart Gordon, 1992), Gunmen (Deran Sarafian, 1993) with Mario Van Peebles, and the Italian-produced Nirvana (Gabriele Salvatores, 1997). His filmography also included low-budget films such as Adrenalin: Fear the Rush (Albert Pyun, 1997), which were generally poorly received by critics and often enjoyed only direct-to-video releases. In the course of that decade, Lambert also occasionally appeared in French films such as the thriller Max et Jérémie/Max & Jeremie (Claire Devers, 1992) with Philippe Noiret. In 1995, he played the role of the thunder god Raiden in Mortal Kombat (Paul W.S. Anderson, 1995), a movie adaptation of the popular video game series. Lambert was interested in reprising his character in the sequel, Mortal Kombat: Annihilation (John R. Leonetti, 1997), but he was committed to his role in Beowulf (Graham Baker, 1999), and the role was given to James Remar. Primarily an action star, Lambert occasionally showed up in other genres, including the romantic comedy Arlette (Claude Zidi, 1997) with Josiane Balasko. He also became active as a film producer and has produced French films such as the drama N'oublie pas que tu vas mourir/Don't Forget You're Going to Die (Xavier Beauvois, 1995) and the gangster film J'irai au paradis car l'enfer est ici/I will go to heaven for hell is here (Xavier Durringer, 1997).
In 2001, Christophe Lambert played the lead role of Gallic chieftain Vercingetorix in the France-Canada production Vercingétorix/Druids (Jacques Dorfmann, 2001), which was a critical and financial failure. In 2009, he was the lead in White Material (Claire Denis, 2009) opposite Isabelle Huppert. Both the film and Lambert's performance received critical acclaim. Lambert was married twice. He met his first wife, American film actress Diane Lane in 1985 when they were both in Rome on separate publicity junkets. They married three years later and had one daughter, Eleanor Lambert (1993). They divorced in 1994. In 1996 he married Jaimyse Haft. They divorced in 2006. He later had a relationship with actress Sophie Marceau with whom he appeared in the crime drama La disparue de Deauville/Trivial (Sophie Marceau, 2007). In a 2010 interview with the British newspaper The Guardian, he stated that he lives mostly on an aeroplane and he can't stay anywhere longer than a few months. Along with owning a mineral water business and food processing plant, Lambert produces Côtes-du-Rhône wines with partner Eric Beaumard at a vineyard located in Sainte-Cécile-les-Vignes, France. When not on location, he divides his time between his winery, his ‘main residence’ in Switzerland, and his daughter in Los Angeles. More recently, he could be seen in the Bulgarian romantic comedy The Foreigner (Niki Iliev, 2012) and in the Marvel Comics film Ghost Rider: Spirit of Vengeance (Mark Neveldine, Brian Taylor, 2012) featuring Nicholas Cage. He co-starred in the French romantic comedy Un plus une (Claude Lelouch, 2015), the comedy Hail, Caesar! (Joel and Ethan Coen, 2016) and in the star-studded comedy Chacun sa vie et son intime conviction (Claude Lelouch, 2017). He remained active in the action genre with the thriller The Broken Key (Louis Nero, 2017) with Rutger Hauer and Michael Madsen and the martial arts film Kickboxer: Retaliation (Dimitri Logothetis, 2018). Lambert received high praise for his role as SS officer Karl Frenzel in the Russian film Sobibor (Konstantin Khabensky, 2018) about the only successful uprising in a Nazi death camp. Lambert was part of the ensemble cast of Bel Canto (Paul Weitz, 2018). He played the French ambassador who was part of the Japanese embassy hostage crisis (also called the Lima Crisis) of 1996–1997 in Lima, Peru. His latest film is the horror thriller It's not over (Alessandro Riccardi, 2022).
Sources: Ed Stephan (IMDb), Lizzy Davies (The Guardian), Sandra Brennan (AllMovie), Wikipedia and IMDb.
And, please check out our blog European Film Star Postcards.
French postcard, no. 1111.
French, American-born actor Christophe or Christopher Lambert (1957) is known for his good looks, gravelly, raspy voice and his unsettling eyes. His best-known roles are Tarzan, Lord of the Apes in Greystoke (1984) and the immortal Connor MacLeod in the Highlander film series (1986-2000). He was also the hero of countless futuristic action films, that often went straight to video.
Christophe Guy Denis Lambert was born in Great Neck, Long Island, New York in 1957. His mother was a French psychiatrist and his father was a French diplomat stationed in the US at the United Nations at the time of Lambert's birth. His family left the US when he was only two years old after his father was assigned by the UN to Switzerland. Christophe was educated at private boarding schools in Geneva. At the age of 12, he appeared in a play. At 16, he moved to Paris. Lambert worked with the London Stock Exchange and served in the French military, both allegedly at his father's insistence. Then he studied at the Paris Conservatoire for two years. He made his film debut with a small role in the comedy Ciao, les mecs/Ciao, You Guys (Sergio Gobbi, 1979) with Charles Aznavour. He soon appeared in more films but did not become a star until he played the leading role in Warner Brothers’ lush epic Greystoke: The Legend of Tarzan, Lord of the Apes (Hugh Hudson, 1984). In this English-language film, he was credited as Christopher Lambert but in French-speaking countries, he would remain known as Christophe Lambert. His Greystoke co-stars included Andie MacDowell, Ian Holm, James Fox and Ralph Richardson in his final film performance. Tarzan buffs liked the film for remaining quite faithful to Edgar Rice Burroughs' original story. Looking as good in period costumes as he did in a scanty loincloth, Lambert also became the newest sex symbol in France. That same year he also had his first lead role in a French film, opposite Catherine Deneuve in Paroles et musique/Love Songs (Élie Chouraqui, 1984). Then he played the male lead in the excellent thriller Subway (Luc Besson, 1985) opposite Isabelle Adjani, for which he was awarded a César Award for Best Actor. The intense gaze he showed in these and many later roles is the result of myopia at an early age. Myopia is a condition that causes the eyes to focus incorrectly, making distant objects appear blurred. He cannot see without his glasses, and because he cannot wear contact lenses, he is often forced to act while virtually blind. This has led to injuries while performing his own stunts without glasses.
In 1986, Christopher Lambert played his most famous role: the immortal Connor MacLeod, a sword-wielding Scotsman born in the Highlands of Scotland in 1518, who finds himself fighting evil in modern-day New York. Highlander (Russell Mulcahy, 1986), co-starring Sean Connery, was an international success. However, upon initial US release, it was not well-received, but it gained wide and persistent popularity in Europe and on other markets, as well as on home video. It has since obtained status as a cult classic film, leading to four sequels, a television series, and various other spin-offs. Lambert appeared in the three sequels that were released in cinemas, Highlander II: The Quickening (Russell Mulcahy, 1991), Highlander III: The Sorcerer (Andrew Morahan, 1994) and Highlander: Endgame (2000, Douglas Aarniokoski). He was not in the TV film Highlander: The Source (Brett Leonard, 2007) made for the Sci-Fi Channel – and had only a cameo appearance in the pilot of the 1992 television series. His films after Highlander, such as I Love You (Marco Ferreri, 1986) and The Sicilian (Michael Cimino. 1987), in which he starred as Salvatore Giuliano, were less successful than his previous pictures. In To Kill a Priest (Agnieszka Holland, 1988), he played a character based on Jerzy Popiełuszko, the young Polish priest who spoke out against the Communist regime. The film was well-received by critics but was a financial failure.
During the 1990s, Christopher Lambert starred in action and science fiction films such as the thriller Knight Moves (Carl Schenkel, 1992) with Diane Lane, Fortress (Stuart Gordon, 1992), Gunmen (Deran Sarafian, 1993) with Mario Van Peebles, and the Italian-produced Nirvana (Gabriele Salvatores, 1997). His filmography also included low-budget films such as Adrenalin: Fear the Rush (Albert Pyun, 1997), which were generally poorly received by critics and often enjoyed only direct-to-video releases. In the course of that decade, Lambert also occasionally appeared in French films such as the thriller Max et Jérémie/Max & Jeremie (Claire Devers, 1992) with Philippe Noiret. In 1995, he played the role of the thunder god Raiden in Mortal Kombat (Paul W.S. Anderson, 1995), a movie adaptation of the popular video game series. Lambert was interested in reprising his character in the sequel, Mortal Kombat: Annihilation (John R. Leonetti, 1997), but he was committed to his role in Beowulf (Graham Baker, 1999), and the role was given to James Remar. Primarily an action star, Lambert occasionally showed up in other genres, including the romantic comedy Arlette (Claude Zidi, 1997) with Josiane Balasko. He also became active as a film producer and has produced French films such as the drama N'oublie pas que tu vas mourir/Don't Forget You're Going to Die (Xavier Beauvois, 1995) and the gangster film J'irai au paradis car l'enfer est ici/I will go to heaven for hell is here (Xavier Durringer, 1997).
In 2001, Christophe Lambert played the lead role of Gallic chieftain Vercingetorix in the France-Canada production Vercingétorix/Druids (Jacques Dorfmann, 2001), which was a critical and financial failure. In 2009, he was the lead in White Material (Claire Denis, 2009) opposite Isabelle Huppert. Both the film and Lambert's performance received critical acclaim. Lambert was married twice. He met his first wife, American film actress Diane Lane in 1985 when they were both in Rome on separate publicity junkets. They married three years later and had one daughter, Eleanor Lambert (1993). They divorced in 1994. In 1996 he married Jaimyse Haft. They divorced in 2006. He later had a relationship with actress Sophie Marceau with whom he appeared in the crime drama La disparue de Deauville/Trivial (Sophie Marceau, 2007). In a 2010 interview with the British newspaper The Guardian, he stated that he lives mostly on an aeroplane and he can't stay anywhere longer than a few months. Along with owning a mineral water business and food processing plant, Lambert produces Côtes-du-Rhône wines with partner Eric Beaumard at a vineyard located in Sainte-Cécile-les-Vignes, France. When not on location, he divides his time between his winery, his ‘main residence’ in Switzerland, and his daughter in Los Angeles. More recently, he could be seen in the Bulgarian romantic comedy The Foreigner (Niki Iliev, 2012) and in the Marvel Comics film Ghost Rider: Spirit of Vengeance (Mark Neveldine, Brian Taylor, 2012) featuring Nicholas Cage. He co-starred in the French romantic comedy Un plus une (Claude Lelouch, 2015), the comedy Hail, Caesar! (Joel and Ethan Coen, 2016) and in the star-studded comedy Chacun sa vie et son intime conviction (Claude Lelouch, 2017). He remained active in the action genre with the thriller The Broken Key (Louis Nero, 2017) with Rutger Hauer and Michael Madsen and the martial arts film Kickboxer: Retaliation (Dimitri Logothetis, 2018). Lambert received high praise for his role as SS officer Karl Frenzel in the Russian film Sobibor (Konstantin Khabensky, 2018) about the only successful uprising in a Nazi death camp. Lambert was part of the ensemble cast of Bel Canto (Paul Weitz, 2018). He played the French ambassador who was part of the Japanese embassy hostage crisis (also called the Lima Crisis) of 1996–1997 in Lima, Peru. His latest film is the horror thriller It's not over (Alessandro Riccardi, 2022).
Sources: Ed Stephan (IMDb), Lizzy Davies (The Guardian), Sandra Brennan (AllMovie), Wikipedia and IMDb.
And, please check out our blog European Film Star Postcards.
French postcard in the Collection 9. 1/2 by Editions 'Humour à la Carte, Paris, no. ST-96. Photo: Xavier Lambours / VU.
French, American-born actor Christophe or Christopher Lambert (1957) is known for his good looks, gravelly, raspy voice and his unsettling eyes. His best-known roles are Tarzan, Lord of the Apes in Greystoke (1984) and the immortal Connor MacLeod in the Highlander film series (1986-2000). He was also the hero of countless futuristic action films, that often went straight to video.
Christophe Guy Denis Lambert was born in Great Neck, Long Island, New York in 1957. His mother was a French psychiatrist and his father was a French diplomat stationed in the US at the United Nations at the time of Lambert's birth. His family left the US when he was only two years old after his father was assigned by the UN to Switzerland. Christophe was educated at private boarding schools in Geneva. At the age of 12, he appeared in a play. At 16, he moved to Paris. Lambert worked with the London Stock Exchange and served in the French military, both allegedly at his father's insistence. Then he studied at the Paris Conservatoire for two years. He made his film debut with a small role in the comedy Ciao, les mecs/Ciao, You Guys (Sergio Gobbi, 1979) with Charles Aznavour. He soon appeared in more films but did not become a star until he played the leading role in Warner Brothers’ lush epic Greystoke: The Legend of Tarzan, Lord of the Apes (Hugh Hudson, 1984). In this English-language film, he was credited as Christopher Lambert but in French-speaking countries, he would remain known as Christophe Lambert. His Greystoke co-stars included Andie MacDowell, Ian Holm, James Fox and Ralph Richardson in his final film performance. Tarzan buffs liked the film for remaining quite faithful to Edgar Rice Burroughs' original story. Looking as good in period costumes as he did in a scanty loincloth, Lambert also became the newest sex symbol in France. That same year he also had his first lead role in a French film, opposite Catherine Deneuve in Paroles et musique/Love Songs (Élie Chouraqui, 1984). Then he played the male lead in the excellent thriller Subway (Luc Besson, 1985) opposite Isabelle Adjani, for which he was awarded a César Award for Best Actor. The intense gaze he showed in these and many later roles is the result of myopia at an early age. Myopia is a condition that causes the eyes to focus incorrectly, making distant objects appear blurred. He cannot see without his glasses, and because he cannot wear contact lenses, he is often forced to act while virtually blind. This has led to injuries while performing his own stunts without glasses.
In 1986, Christopher Lambert played his most famous role: the immortal Connor MacLeod, a sword-wielding Scotsman born in the Highlands of Scotland in 1518, who finds himself fighting evil in modern-day New York. Highlander (Russell Mulcahy, 1986), co-starring Sean Connery, was an international success. However, upon initial US release, it was not well-received, but it gained wide and persistent popularity in Europe and on other markets, as well as on home video. It has since obtained status as a cult classic film, leading to four sequels, a television series, and various other spin-offs. Lambert appeared in the three sequels that were released in cinemas, Highlander II: The Quickening (Russell Mulcahy, 1991), Highlander III: The Sorcerer (Andrew Morahan, 1994) and Highlander: Endgame (2000, Douglas Aarniokoski). He was not in the TV film Highlander: The Source (Brett Leonard, 2007) made for the Sci-Fi Channel – and had only a cameo appearance in the pilot of the 1992 television series. His films after Highlander, such as I Love You (Marco Ferreri, 1986) and The Sicilian (Michael Cimino. 1987), in which he starred as Salvatore Giuliano, were less successful than his previous pictures. In To Kill a Priest (Agnieszka Holland, 1988), he played a character based on Jerzy Popiełuszko, the young Polish priest who spoke out against the Communist regime. The film was well-received by critics but was a financial failure.
During the 1990s, Christopher Lambert starred in action and science fiction films such as the thriller Knight Moves (Carl Schenkel, 1992) with Diane Lane, Fortress (Stuart Gordon, 1992), Gunmen (Deran Sarafian, 1993) with Mario Van Peebles, and the Italian-produced Nirvana (Gabriele Salvatores, 1997). His filmography also included low-budget films such as Adrenalin: Fear the Rush (Albert Pyun, 1997), which were generally poorly received by critics and often enjoyed only direct-to-video releases. In the course of that decade, Lambert also occasionally appeared in French films such as the thriller Max et Jérémie/Max & Jeremie (Claire Devers, 1992) with Philippe Noiret. In 1995, he played the role of the thunder god Raiden in Mortal Kombat (Paul W.S. Anderson, 1995), a movie adaptation of the popular video game series. Lambert was interested in reprising his character in the sequel, Mortal Kombat: Annihilation (John R. Leonetti, 1997), but he was committed to his role in Beowulf (Graham Baker, 1999), and the role was given to James Remar. Primarily an action star, Lambert occasionally showed up in other genres, including the romantic comedy Arlette (Claude Zidi, 1997) with Josiane Balasko. He also became active as a film producer and has produced French films such as the drama N'oublie pas que tu vas mourir/Don't Forget You're Going to Die (Xavier Beauvois, 1995) and the gangster film J'irai au paradis car l'enfer est ici/I will go to heaven for hell is here (Xavier Durringer, 1997).
In 2001, Christophe Lambert played the lead role of Gallic chieftain Vercingetorix in the France-Canada production Vercingétorix/Druids (Jacques Dorfmann, 2001), which was a critical and financial failure. In 2009, he was the lead in White Material (Claire Denis, 2009) opposite Isabelle Huppert. Both the film and Lambert's performance received critical acclaim. Lambert was married twice. He met his first wife, American film actress Diane Lane in 1985 when they were both in Rome on separate publicity junkets. They married three years later and had one daughter, Eleanor Lambert (1993). They divorced in 1994. In 1996 he married Jaimyse Haft. They divorced in 2006. He later had a relationship with actress Sophie Marceau with whom he appeared in the crime drama La disparue de Deauville/Trivial (Sophie Marceau, 2007). In a 2010 interview with the British newspaper The Guardian, he stated that he lives mostly on an aeroplane and he can't stay anywhere longer than a few months. Along with owning a mineral water business and food processing plant, Lambert produces Côtes-du-Rhône wines with partner Eric Beaumard at a vineyard located in Sainte-Cécile-les-Vignes, France. When not on location, he divides his time between his winery, his ‘main residence’ in Switzerland, and his daughter in Los Angeles. More recently, he could be seen in the Bulgarian romantic comedy The Foreigner (Niki Iliev, 2012) and in the Marvel Comics film Ghost Rider: Spirit of Vengeance (Mark Neveldine, Brian Taylor, 2012) featuring Nicholas Cage. He co-starred in the French romantic comedy Un plus une (Claude Lelouch, 2015), the comedy Hail, Caesar! (Joel and Ethan Coen, 2016) and in the star-studded comedy Chacun sa vie et son intime conviction (Claude Lelouch, 2017). He remained active in the action genre with the thriller The Broken Key (Louis Nero, 2017) with Rutger Hauer and Michael Madsen and the martial arts film Kickboxer: Retaliation (Dimitri Logothetis, 2018). Lambert received high praise for his role as SS officer Karl Frenzel in the Russian film Sobibor (Konstantin Khabensky, 2018) about the only successful uprising in a Nazi death camp. Lambert was part of the ensemble cast of Bel Canto (Paul Weitz, 2018). He played the French ambassador who was part of the Japanese embassy hostage crisis (also called the Lima Crisis) of 1996–1997 in Lima, Peru. His latest film is the horror thriller It's not over (Alessandro Riccardi, 2022).
Sources: Ed Stephan (IMDb), Lizzy Davies (The Guardian), Sandra Brennan (AllMovie), Wikipedia and IMDb.
And, please check out our blog European Film Star Postcards.
French postcard in the Collection 9. 1/2 by Editions Humour à la Carte, Paris, no. ST-65. Photo: Christophe Lambert in Subway (Luc Besson, 1985).
French, American-born actor Christophe or Christopher Lambert (1957) is known for his good looks, gravelly, raspy voice and his unsettling eyes. His best-known roles are Tarzan, Lord of the Apes in Greystoke (1984) and the immortal Connor MacLeod in the Highlander film series (1986-2000). He was also the hero of countless futuristic action films, that often went straight to video.
Christophe Guy Denis Lambert was born in Great Neck, Long Island, New York in 1957. His mother was a French psychiatrist and his father was a French diplomat stationed in the US at the United Nations at the time of Lambert's birth. His family left the US when he was only two years old after his father was assigned by the UN to Switzerland. Christophe was educated at private boarding schools in Geneva. At the age of 12, he appeared in a play. At 16, he moved to Paris. Lambert worked with the London Stock Exchange and served in the French military, both allegedly at his father's insistence. Then he studied at the Paris Conservatoire for two years. He made his film debut with a small role in the comedy Ciao, les mecs/Ciao, You Guys (Sergio Gobbi, 1979) with Charles Aznavour. He soon appeared in more films but did not become a star until he played the leading role in Warner Brothers’ lush epic Greystoke: The Legend of Tarzan, Lord of the Apes (Hugh Hudson, 1984). In this English-language film, he was credited as Christopher Lambert but in French-speaking countries, he would remain known as Christophe Lambert. His Greystoke co-stars included Andie MacDowell, Ian Holm, James Fox and Ralph Richardson in his final film performance. Tarzan buffs liked the film for remaining quite faithful to Edgar Rice Burroughs' original story. Looking as good in period costumes as he did in a scanty loincloth, Lambert also became the newest sex symbol in France. That same year he also had his first lead role in a French film, opposite Catherine Deneuve in Paroles et musique/Love Songs (Élie Chouraqui, 1984). Then he played the male lead in the excellent thriller Subway (Luc Besson, 1985) opposite Isabelle Adjani, for which he was awarded a César Award for Best Actor. The intense gaze he showed in these and many later roles is the result of myopia at an early age. Myopia is a condition that causes the eyes to focus incorrectly, making distant objects appear blurred. He cannot see without his glasses, and because he cannot wear contact lenses, he is often forced to act while virtually blind. This has led to injuries while performing his own stunts without glasses.
In 1986, Christopher Lambert played his most famous role: the immortal Connor MacLeod, a sword-wielding Scotsman born in the Highlands of Scotland in 1518, who finds himself fighting evil in modern-day New York. Highlander (Russell Mulcahy, 1986), co-starring Sean Connery, was an international success. However, upon initial US release, it was not well-received, but it gained wide and persistent popularity in Europe and on other markets, as well as on home video. It has since obtained status as a cult classic film, leading to four sequels, a television series, and various other spin-offs. Lambert appeared in the three sequels that were released in cinemas, Highlander II: The Quickening (Russell Mulcahy, 1991), Highlander III: The Sorcerer (Andrew Morahan, 1994) and Highlander: Endgame (2000, Douglas Aarniokoski). He was not in the TV film Highlander: The Source (Brett Leonard, 2007) made for the Sci-Fi Channel – and had only a cameo appearance in the pilot of the 1992 television series. His films after Highlander, such as I Love You (Marco Ferreri, 1986) and The Sicilian (Michael Cimino. 1987), in which he starred as Salvatore Giuliano, were less successful than his previous pictures. In To Kill a Priest (Agnieszka Holland, 1988), he played a character based on Jerzy Popiełuszko, the young Polish priest who spoke out against the Communist regime. The film was well-received by critics but was a financial failure.
During the 1990s, Christopher Lambert starred in action and science fiction films such as the thriller Knight Moves (Carl Schenkel, 1992) with Diane Lane, Fortress (Stuart Gordon, 1992), Gunmen (Deran Sarafian, 1993) with Mario Van Peebles, and the Italian-produced Nirvana (Gabriele Salvatores, 1997). His filmography also included low-budget films such as Adrenalin: Fear the Rush (Albert Pyun, 1997), which were generally poorly received by critics and often enjoyed only direct-to-video releases. In the course of that decade, Lambert also occasionally appeared in French films such as the thriller Max et Jérémie/Max & Jeremie (Claire Devers, 1992) with Philippe Noiret. In 1995, he played the role of the thunder god Raiden in Mortal Kombat (Paul W.S. Anderson, 1995), a movie adaptation of the popular video game series. Lambert was interested in reprising his character in the sequel, Mortal Kombat: Annihilation (John R. Leonetti, 1997), but he was committed to his role in Beowulf (Graham Baker, 1999), and the role was given to James Remar. Primarily an action star, Lambert occasionally showed up in other genres, including the romantic comedy Arlette (Claude Zidi, 1997) with Josiane Balasko. He also became active as a film producer and has produced French films such as the drama N'oublie pas que tu vas mourir/Don't Forget You're Going to Die (Xavier Beauvois, 1995) and the gangster film J'irai au paradis car l'enfer est ici/I will go to heaven for hell is here (Xavier Durringer, 1997).
In 2001, Christophe Lambert played the lead role of Gallic chieftain Vercingetorix in the France-Canada production Vercingétorix/Druids (Jacques Dorfmann, 2001), which was a critical and financial failure. In 2009, he was the lead in White Material (Claire Denis, 2009) opposite Isabelle Huppert. Both the film and Lambert's performance received critical acclaim. Lambert was married twice. He met his first wife, American film actress Diane Lane in 1985 when they were both in Rome on separate publicity junkets. They married three years later and had one daughter, Eleanor Lambert (1993). They divorced in 1994. In 1996 he married Jaimyse Haft. They divorced in 2006. He later had a relationship with actress Sophie Marceau with whom he appeared in the crime drama La disparue de Deauville/Trivial (Sophie Marceau, 2007). In a 2010 interview with the British newspaper The Guardian, he stated that he lives mostly on an aeroplane and he can't stay anywhere longer than a few months. Along with owning a mineral water business and food processing plant, Lambert produces Côtes-du-Rhône wines with partner Eric Beaumard at a vineyard located in Sainte-Cécile-les-Vignes, France. When not on location, he divides his time between his winery, his ‘main residence’ in Switzerland, and his daughter in Los Angeles. More recently, he could be seen in the Bulgarian romantic comedy The Foreigner (Niki Iliev, 2012) and in the Marvel Comics film Ghost Rider: Spirit of Vengeance (Mark Neveldine, Brian Taylor, 2012) featuring Nicholas Cage. He co-starred in the French romantic comedy Un plus une (Claude Lelouch, 2015), the comedy Hail, Caesar! (Joel and Ethan Coen, 2016) and in the star-studded comedy Chacun sa vie et son intime conviction (Claude Lelouch, 2017). He remained active in the action genre with the thriller The Broken Key (Louis Nero, 2017) with Rutger Hauer and Michael Madsen and the martial arts film Kickboxer: Retaliation (Dimitri Logothetis, 2018). Lambert received high praise for his role as SS officer Karl Frenzel in the Russian film Sobibor (Konstantin Khabensky, 2018) about the only successful uprising in a Nazi death camp. Lambert was part of the ensemble cast of Bel Canto (Paul Weitz, 2018). He played the French ambassador who was part of the Japanese embassy hostage crisis (also called the Lima Crisis) of 1996–1997 in Lima, Peru. His latest film is the horror thriller It's not over (Alessandro Riccardi, 2022).
Sources: Ed Stephan (IMDb), Lizzy Davies (The Guardian), Sandra Brennan (AllMovie), Wikipedia and IMDb.
And, please check out our blog European Film Star Postcards.
French postcard in the Collection Cinéma by Studio Magazine / Photomania, Paris, no. PSM 401. Photo: Luc Roux.
French, American-born actor Christophe or Christopher Lambert (1957) is known for his good looks, gravelly, raspy voice and his unsettling eyes. His best-known roles are Tarzan, Lord of the Apes in Greystoke (1984) and the immortal Connor MacLeod in the Highlander film series (1986-2000). He was also the hero of countless futuristic action films, that often went straight to video.
Christophe Guy Denis Lambert was born in Great Neck, Long Island, New York in 1957. His mother was a French psychiatrist and his father was a French diplomat stationed in the US at the United Nations at the time of Lambert's birth. His family left the US when he was only two years old after his father was assigned by the UN to Switzerland. Christophe was educated at private boarding schools in Geneva. At the age of 12, he appeared in a play. At 16, he moved to Paris. Lambert worked with the London Stock Exchange and served in the French military, both allegedly at his father's insistence. Then he studied at the Paris Conservatoire for two years. He made his film debut with a small role in the comedy Ciao, les mecs/Ciao, You Guys (Sergio Gobbi, 1979) with Charles Aznavour. He soon appeared in more films but did not become a star until he played the leading role in Warner Brothers’ lush epic Greystoke: The Legend of Tarzan, Lord of the Apes (Hugh Hudson, 1984). In this English-language film, he was credited as Christopher Lambert but in French-speaking countries, he would remain known as Christophe Lambert. His Greystoke co-stars included Andie MacDowell, Ian Holm, James Fox and Ralph Richardson in his final film performance. Tarzan buffs liked the film for remaining quite faithful to Edgar Rice Burroughs' original story. Looking as good in period costumes as he did in a scanty loincloth, Lambert also became the newest sex symbol in France. That same year he also had his first lead role in a French film, opposite Catherine Deneuve in Paroles et musique/Love Songs (Élie Chouraqui, 1984). Then he played the male lead in the excellent thriller Subway (Luc Besson, 1985) opposite Isabelle Adjani, for which he was awarded a César Award for Best Actor. The intense gaze he showed in these and many later roles is the result of myopia at an early age. Myopia is a condition that causes the eyes to focus incorrectly, making distant objects appear blurred. He cannot see without his glasses, and because he cannot wear contact lenses, he is often forced to act while virtually blind. This has led to injuries while performing his own stunts without glasses.
In 1986, Christopher Lambert played his most famous role: the immortal Connor MacLeod, a sword-wielding Scotsman born in the Highlands of Scotland in 1518, who finds himself fighting evil in modern-day New York. Highlander (Russell Mulcahy, 1986), co-starring Sean Connery, was an international success. However, upon initial US release, it was not well-received, but it gained wide and persistent popularity in Europe and on other markets, as well as on home video. It has since obtained status as a cult classic film, leading to four sequels, a television series, and various other spin-offs. Lambert appeared in the three sequels that were released in cinemas, Highlander II: The Quickening (Russell Mulcahy, 1991), Highlander III: The Sorcerer (Andrew Morahan, 1994) and Highlander: Endgame (2000, Douglas Aarniokoski). He was not in the TV film Highlander: The Source (Brett Leonard, 2007) made for the Sci-Fi Channel – and had only a cameo appearance in the pilot of the 1992 television series. His films after Highlander, such as I Love You (Marco Ferreri, 1986) and The Sicilian (Michael Cimino. 1987), in which he starred as Salvatore Giuliano, were less successful than his previous pictures. In To Kill a Priest (Agnieszka Holland, 1988), he played a character based on Jerzy Popiełuszko, the young Polish priest who spoke out against the Communist regime. The film was well-received by critics but was a financial failure.
During the 1990s, Christopher Lambert starred in action and science fiction films such as the thriller Knight Moves (Carl Schenkel, 1992) with Diane Lane, Fortress (Stuart Gordon, 1992), Gunmen (Deran Sarafian, 1993) with Mario Van Peebles, and the Italian-produced Nirvana (Gabriele Salvatores, 1997). His filmography also included low-budget films such as Adrenalin: Fear the Rush (Albert Pyun, 1997), which were generally poorly received by critics and often enjoyed only direct-to-video releases. In the course of that decade, Lambert also occasionally appeared in French films such as the thriller Max et Jérémie/Max & Jeremie (Claire Devers, 1992) with Philippe Noiret. In 1995, he played the role of the thunder god Raiden in Mortal Kombat (Paul W.S. Anderson, 1995), a movie adaptation of the popular video game series. Lambert was interested in reprising his character in the sequel, Mortal Kombat: Annihilation (John R. Leonetti, 1997), but he was committed to his role in Beowulf (Graham Baker, 1999), and the role was given to James Remar. Primarily an action star, Lambert occasionally showed up in other genres, including the romantic comedy Arlette (Claude Zidi, 1997) with Josiane Balasko. He also became active as a film producer and has produced French films such as the drama N'oublie pas que tu vas mourir/Don't Forget You're Going to Die (Xavier Beauvois, 1995) and the gangster film J'irai au paradis car l'enfer est ici/I will go to heaven for hell is here (Xavier Durringer, 1997).
In 2001, Christophe Lambert played the lead role of Gallic chieftain Vercingetorix in the France-Canada production Vercingétorix/Druids (Jacques Dorfmann, 2001), which was a critical and financial failure. In 2009, he was the lead in White Material (Claire Denis, 2009) opposite Isabelle Huppert. Both the film and Lambert's performance received critical acclaim. Lambert was married twice. He met his first wife, American film actress Diane Lane in 1985 when they were both in Rome on separate publicity junkets. They married three years later and had one daughter, Eleanor Lambert (1993). They divorced in 1994. In 1996 he married Jaimyse Haft. They divorced in 2006. He later had a relationship with actress Sophie Marceau with whom he appeared in the crime drama La disparue de Deauville/Trivial (Sophie Marceau, 2007). In a 2010 interview with the British newspaper The Guardian, he stated that he lives mostly on an aeroplane and he can't stay anywhere longer than a few months. Along with owning a mineral water business and food processing plant, Lambert produces Côtes-du-Rhône wines with partner Eric Beaumard at a vineyard located in Sainte-Cécile-les-Vignes, France. When not on location, he divides his time between his winery, his ‘main residence’ in Switzerland, and his daughter in Los Angeles. More recently, he could be seen in the Bulgarian romantic comedy The Foreigner (Niki Iliev, 2012) and in the Marvel Comics film Ghost Rider: Spirit of Vengeance (Mark Neveldine, Brian Taylor, 2012) featuring Nicholas Cage. He co-starred in the French romantic comedy Un plus une (Claude Lelouch, 2015), the comedy Hail, Caesar! (Joel and Ethan Coen, 2016) and in the star-studded comedy Chacun sa vie et son intime conviction (Claude Lelouch, 2017). He remained active in the action genre with the thriller The Broken Key (Louis Nero, 2017) with Rutger Hauer and Michael Madsen and the martial arts film Kickboxer: Retaliation (Dimitri Logothetis, 2018). Lambert received high praise for his role as SS officer Karl Frenzel in the Russian film Sobibor (Konstantin Khabensky, 2018) about the only successful uprising in a Nazi death camp. Lambert was part of the ensemble cast of Bel Canto (Paul Weitz, 2018). He played the French ambassador who was part of the Japanese embassy hostage crisis (also called the Lima Crisis) of 1996–1997 in Lima, Peru. His latest film is the horror thriller It's not over (Alessandro Riccardi, 2022).
Sources: Ed Stephan (IMDb), Lizzy Davies (The Guardian), Sandra Brennan (AllMovie), Wikipedia and IMDb.
And, please check out our blog European Film Star Postcards.
Vintage publicity still. Warner. Helmut Berger and Ingrid Thulin in The Damned/ La caduta degli dei/ Götterdämmerung (Luchino Visconti, 1969).
Austrian film and television actor Helmut Berger (1944) is most famous for his work with Italian director Luchino Visconti. For his performance as King Ludwig II of Bavaria in the modern classic Ludwig (1972), he received a special David di Donatello award, while he had a Golden Globe nomination for his part in The Damned (1969).
Helmut Berger was born Helmut Steinberger in Bad Ischl, Austria in 1944. His parents ran a humble pub after the War. His father was held a prisoner of war by the Russians and didn’t return until three years after the war was over. Young Helmut’s wish to be an actor caused much argument with his parents who wanted him to go into the hotel business. He had to help serve beer and to study for a hotel diploma. At age eighteen, he moved to London, England, where he worked as a waiter to pay his way through drama school, and also joined a small theatre. With the aim of becoming an international actor, he joined Perugia university to learn Italian, English, and French. He spent some time in France, where his acting career began in commercials and a bit role in La Ronde (Roger Vadim, 1964) with Anna Karina. Berger then moved to Rome, at that time the film capital of Europe. He was noticed by Luchino Visconti during the shooting of Vaghe stelle dell'Orsa/Sandra (Luchino Visconti, 1964) featuring Claudia Cardinale. Berger was shivering in the cold and Visconti told an assistant to offer a cashmere muffler. The next day Luchino Visconti invited Helmut Berger for lunch, and so began their relationship. They stayed ‘longtime companions’ till Visconti’s death, twelve years later. Berger got his first real role opposite Silvana Mangano in the episode La Strega Bruciata Viva/The Witch Burned Alive (Luchino Visconti, 1967) of the anthology film Le streghe/The Witches (1967). He had his international breakthrough as the young heir Martin von Essenbeck in La caduta degli dei/Götterdämmmerung/The Damned (Luchino Visconti, 1969) starring Dirk Bogarde and Ingrid Thulin. This drama tells about the collapse of a wealthy, industrialist family during the reign of the Third Reich. In what is perhaps his best-known scene, Berger mimics Marlene Dietrich as Lola Lola in The Blue Angel (Josef von Sternberg, 1930). Berger was nominated for a Golden Globe Award for his role. In Ludwig (Luchino Visconti, 1972), Berger portrays Ludwig II of Bavaria from his blooming youth, to his dissolute final years. In 1973, he won a David di Donatello – the Italian equivalent of an Academy Award – for this amazing performance. Berger also starred with Burt Lancaster in Gruppo di famiglia in un interno/Conversation Piece (Luchino Visconti, 1974). Visconti is said to view Berger as the very image of his idea of a "demonic, insane, and sexually perverted" man. As a matter of fact, Berger often portrayed anguished souls and sinister villains.
On his 30th birthday, Helmut Berger was the most sought-after young actor of his time, and not only was he young and extraordinarily beautiful, but he was also a uniquely gifted actor. Although his private and professional relationships with Visconti had brought him to the attention of the press and had made him a star, his career counted other highlights and continued after the maestro’s death in 1976. In between the Visconti films he had also starred in the horror-thriller Dorian Gray (Massimo Dallamano, 1970) with Richard Todd, Un beau monstre/A Strange Love Affair (Sergio Gobbi, 1971) opposite Virna Lisi, and Ash Wednesday (Larry Peerce, 1973) starring Elizabeth Taylor. He also worked with such noted directors as Vittorio De Sica at the Academy Award-winning Il giardino dei Finzi Contini/The garden of the Finzi-Continis (1970) playing the consumptive brother of Dominique Sanda, Duccio Tessari at the thriller Una farfalla con le ali insanguinate/The Bloodstained Butterfly (1971), and Joseph Losey at The Romantic Englishwoman (1975) with Glenda Jackson and Michael Caine. After Visconti’s death, he appeared throughout the 1970s in films as Salon Kitty (Tinto Brass, 1975) with Ingrid Thulin, the action drama Victory at Entebbe (Marvin J. Chomsky, 1976) and Das fünfte Gebot/The Fifth Commandment (Duccio Tessari, 1978). His film career was temporarily broken up in the early 1980’s when he battled an alcohol problem.
Berger has also worked in television, most notably in the role of Peter De Vilbis in the 1983-1984 season of the soap opera Dynasty, opposite Joan Collins. He confessed he did it only for the money: "crying on the way to the set but laughing on the way to the bank". This was not his last appearance in a television series, as English Wikipedia claims. Later, he appeared in the TV mini-series I promessi sposi/The Betrothed (Salvatore Nocita, 1989) and had a supporting part in The Godfather: Part III (Francis Coppola, 1990). He returned as King Ludwig II in Ludwig 1881 (Donatello Dubini, Fosco Dubini, 1993). According to IMDb reviewer dmk2, Berger added “subtlety and experience to the role he played in the original film Ludwig (1972). It's not often that an actor gets to play the same role in a different film. Helmut Berger's portrayal of Ludwig was good in Ludwig (1972). In Ludwig 1881, he plays Ludwig again with all the experience he has gathered since the original film. Donatello Dubini and Fosco Dubini have produced a wonderful script, managing to tempt Helmut Berger back to play Ludwig again. The result is a King Ludwig II of more depth and subtlety and a poignant film with beautiful scenes of the Swiss lake.” In 1999 Berger acted opposite Sheri Hagen, Udo Kier, Willem Nijholt, and Thom Hoffman in the drama Unter den Palmen/ Under the Palms by Dutch filmmaker Miriam Kruishoop. The cinematography by Rogier Stoffers won him a Golden Calf at the Netherlands Film Festival.
Numerous French, Italian, German films, but few directors used his gifts with the same skill as Visconti. Berger had affairs with both men and women. In 1994 he married Francesca Guidato, but they live separated nowadays. His autobiography Ich (Me) was published in 1998. In this memoir, he referred to his relationships with Visconti as a ‘marriage’ and wrote he was the director's widow. He also very modestly attributed his acting achievements to Visconti's directing. In 2004, he returned to his hometown Salzburg. Three years later, he received a special Teddy Award at the 57th Berlin International Film Festival (2007) for his overall professional achievements, and in 2011, he received a Kristián Award at the Czech film festival Febiofest ‘for Contributions to World Cinema’. In the British thriller Iron Cross (Joshua Newton, 2009) starring Roy Scheider, he played Shrager, an aging character believed to be an old SS commander responsible for murdering Jews during World War II. Berger also starred in two films directed by Peter Kern – Blutsfreundschaft/ Initiation (2009), and Mörderschwestern/ Killer Sisters (2011).
In 2014, Berger appeared in Saint Laurent as old Yves Saint Laurent for which he was "celebrated" at Cannes Film Festival.[10] The short film Art!, in which Berger had a starring role, had its world premiere at Paris Independent Film Festival 2015. He starred in the role of Professor Martin in the 2016 film Timeless directed by Alexander Tuschinski. In 2015, Austrian filmmaker Andreas Horvath released a feature-length documentary about Helmut Berger called Helmut Berger, Actor. The film premiered at the Venice Film Festival. In the magazine Artforum American film director John Waters chose Helmut Berger, Actor as the Best Motion Picture of the year 2015. Berger later filed a lawsuit against Horvath. On February 22, 2018, the premiere of Albert Serra's play, Liberté, starring Helmut Berger and Ingrid Caven was performed at the Volksbühne theatre in Berlin. It was the first stage role in Berger's career. In 2019, another documentary film Helmut Berger, meine Mutter und ich was released, dealing with his personality and an attempted comeback
After suffering several bouts of pneumonia, Berger announced his retirement from acting in November 2019 and stated that he wanted to spend his remaining years away from the public. Helmut Berger died on May 18, 2023, at the age of 78.
Sources: Alexander von Schönburg (032c), Mike Petrovaz (IMDb), Circa-club.com, Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
Romanian postcard by Collectia Cinefilului Acin.
French, American-born actor Christophe or Christopher Lambert (1957) is known for his good looks, gravelly, raspy voice and his unsettling eyes. His best-known roles are Tarzan, Lord of the Apes in Greystoke (1984) and the immortal Connor MacLeod in the Highlander film series (1986-2000). He was also the hero of countless futuristic action films, that often went straight to video.
Christophe Guy Denis Lambert was born in Great Neck, Long Island, New York in 1957. His mother was a French psychiatrist and his father was a French diplomat stationed in the US at the United Nations at the time of Lambert's birth. His family left the US when he was only two years old after his father was assigned by the UN to Switzerland. Christophe was educated at private boarding schools in Geneva. At the age of 12, he appeared in a play. At 16, he moved to Paris. Lambert worked with the London Stock Exchange and served in the French military, both allegedly at his father's insistence. Then he studied at the Paris Conservatoire for two years. He made his film debut with a small role in the comedy Ciao, les mecs/Ciao, You Guys (Sergio Gobbi, 1979) with Charles Aznavour. He soon appeared in more films but did not become a star until he played the leading role in Warner Brothers’ lush epic Greystoke: The Legend of Tarzan, Lord of the Apes (Hugh Hudson, 1984). In this English-language film, he was credited as Christopher Lambert but in French-speaking countries, he would remain known as Christophe Lambert. His Greystoke co-stars included Andie MacDowell, Ian Holm, James Fox and Ralph Richardson in his final film performance. Tarzan buffs liked the film for remaining quite faithful to Edgar Rice Burroughs' original story. Looking as good in period costumes as he did in a scanty loincloth, Lambert also became the newest sex symbol in France. That same year he also had his first lead role in a French film, opposite Catherine Deneuve in Paroles et musique/Love Songs (Élie Chouraqui, 1984). Then he played the male lead in the excellent thriller Subway (Luc Besson, 1985) opposite Isabelle Adjani, for which he was awarded a César Award for Best Actor. The intense gaze he showed in these and many later roles is the result of myopia at an early age. Myopia is a condition that causes the eyes to focus incorrectly, making distant objects appear blurred. He cannot see without his glasses, and because he cannot wear contact lenses, he is often forced to act while virtually blind. This has led to injuries while performing his own stunts without glasses.
In 1986, Christopher Lambert played his most famous role: the immortal Connor MacLeod, a sword-wielding Scotsman born in the Highlands of Scotland in 1518, who finds himself fighting evil in modern-day New York. Highlander (Russell Mulcahy, 1986), co-starring Sean Connery, was an international success. However, upon initial US release, it was not well-received, but it gained wide and persistent popularity in Europe and on other markets, as well as on home video. It has since obtained status as a cult classic film, leading to four sequels, a television series, and various other spin-offs. Lambert appeared in the three sequels that were released in cinemas, Highlander II: The Quickening (Russell Mulcahy, 1991), Highlander III: The Sorcerer (Andrew Morahan, 1994) and Highlander: Endgame (2000, Douglas Aarniokoski). He was not in the TV film Highlander: The Source (Brett Leonard, 2007) made for the Sci-Fi Channel – and had only a cameo appearance in the pilot of the 1992 television series. His films after Highlander, such as I Love You (Marco Ferreri, 1986) and The Sicilian (Michael Cimino. 1987), in which he starred as Salvatore Giuliano, were less successful than his previous pictures. In To Kill a Priest (Agnieszka Holland, 1988), he played a character based on Jerzy Popiełuszko, the young Polish priest who spoke out against the Communist regime. The film was well-received by critics but was a financial failure.
During the 1990s, Christopher Lambert starred in action and science fiction films such as the thriller Knight Moves (Carl Schenkel, 1992) with Diane Lane, Fortress (Stuart Gordon, 1992), Gunmen (Deran Sarafian, 1993) with Mario Van Peebles, and the Italian-produced Nirvana (Gabriele Salvatores, 1997). His filmography also included low-budget films such as Adrenalin: Fear the Rush (Albert Pyun, 1997), which were generally poorly received by critics and often enjoyed only direct-to-video releases. In the course of that decade, Lambert also occasionally appeared in French films such as the thriller Max et Jérémie/Max & Jeremie (Claire Devers, 1992) with Philippe Noiret. In 1995, he played the role of the thunder god Raiden in Mortal Kombat (Paul W.S. Anderson, 1995), a movie adaptation of the popular video game series. Lambert was interested in reprising his character in the sequel, Mortal Kombat: Annihilation (John R. Leonetti, 1997), but he was committed to his role in Beowulf (Graham Baker, 1999), and the role was given to James Remar. Primarily an action star, Lambert occasionally showed up in other genres, including the romantic comedy Arlette (Claude Zidi, 1997) with Josiane Balasko. He also became active as a film producer and has produced French films such as the drama N'oublie pas que tu vas mourir/Don't Forget You're Going to Die (Xavier Beauvois, 1995) and the gangster film J'irai au paradis car l'enfer est ici/I will go to heaven for hell is here (Xavier Durringer, 1997).
In 2001, Christophe Lambert played the lead role of Gallic chieftain Vercingetorix in the France-Canada production Vercingétorix/Druids (Jacques Dorfmann, 2001), which was a critical and financial failure. In 2009, he was the lead in White Material (Claire Denis, 2009) opposite Isabelle Huppert. Both the film and Lambert's performance received critical acclaim. Lambert was married twice. He met his first wife, American film actress Diane Lane in 1985 when they were both in Rome on separate publicity junkets. They married three years later and had one daughter, Eleanor Lambert (1993). They divorced in 1994. In 1996 he married Jaimyse Haft. They divorced in 2006. He later had a relationship with actress Sophie Marceau with whom he appeared in the crime drama La disparue de Deauville/Trivial (Sophie Marceau, 2007). In a 2010 interview with the British newspaper The Guardian, he stated that he lives mostly on an aeroplane and he can't stay anywhere longer than a few months. Along with owning a mineral water business and food processing plant, Lambert produces Côtes-du-Rhône wines with partner Eric Beaumard at a vineyard located in Sainte-Cécile-les-Vignes, France. When not on location, he divides his time between his winery, his ‘main residence’ in Switzerland, and his daughter in Los Angeles. More recently, he could be seen in the Bulgarian romantic comedy The Foreigner (Niki Iliev, 2012) and in the Marvel Comics film Ghost Rider: Spirit of Vengeance (Mark Neveldine, Brian Taylor, 2012) featuring Nicholas Cage. He co-starred in the French romantic comedy Un plus une (Claude Lelouch, 2015), the comedy Hail, Caesar! (Joel and Ethan Coen, 2016) and in the star-studded comedy Chacun sa vie et son intime conviction (Claude Lelouch, 2017). He remained active in the action genre with the thriller The Broken Key (Louis Nero, 2017) with Rutger Hauer and Michael Madsen and the martial arts film Kickboxer: Retaliation (Dimitri Logothetis, 2018). Lambert received high praise for his role as SS officer Karl Frenzel in the Russian film Sobibor (Konstantin Khabensky, 2018) about the only successful uprising in a Nazi death camp. Lambert was part of the ensemble cast of Bel Canto (Paul Weitz, 2018). He played the French ambassador who was part of the Japanese embassy hostage crisis (also called the Lima Crisis) of 1996–1997 in Lima, Peru. His latest film is the horror thriller It's not over (Alessandro Riccardi, 2022).
Sources: Ed Stephan (IMDb), Lizzy Davies (The Guardian), Sandra Brennan (AllMovie), Wikipedia and IMDb.
And, please check out our blog European Film Star Postcards.
British card by International Exchange, Glasgow. Silvana Mangano in Riso Amaro/Bitter Rice (Giuseppe De Santis, 1949).
Beautiful Italian film star Silvana Mangano (1930-1989) will be remembered most for the sexy rice picker in Riso Amaro/Bitter Rice (1949), and for Tadzio's elegant mother in Morte a Venezia/Death in Venice (1971).
Silvana Mangano was born in Rome in 1930 to an Italian father, a Sicilian train conductor, and an English mother. Her brother was sound technician Roy Mangano and her sisters are one-time actresses Patrizia Mangano and Natascia Mangano. Silvana grew up in poverty caused by the Second World War. Trained for seven years as a dancer by Zhia Ruskaya, she was supporting herself as a model. At 16, she won the Miss Rome beauty contest in 1946 and got a small role in the opera adaptation L'Elisir d'amore/Elixir of Love (Mario Costa, 1948) with Tito Gobbi. She was also nominated for the Miss Italia contest in 1947, which Lucia Bosé won. Mangano's earliest connection with filmmaking occurred through her romantic relationship with actor Marcello Mastroianni. Mangano started to play small roles in films like Il delitto di Giovanni Episcopo/Flesh Will Surrender (Alberto Lattuada, 1947), Gli uomini sono nemici/Crossroads of Passion (1948, Ettore Giannini) with French diva Viviane Romance, and Black Magic (Gregory Ratoff, 1949) starring Orson Welles. She had her breakthrough with the neo-realistic crime story Riso amaro/Bitter Rice (Giuseppe De Santis, 1949), situated in the rice fields along the Po river in Northern Italy. Mangano played the voluptuous rice picker Silvana, who falls for the criminal Walter (Vittorio Gassman) and his presumed wealth. The thousands of female rice workers, up to their ankles in the water, breaking their backs in the burning sun to earn a few bucks, make an impressive decor. To the standards of 1949s Roman Catholic Italy Mangano's performance in hotpants was shocking. This earned Riso Amaro a lot of publicity and earned Mangano a contract with the Lux company.
Though Silvana Mangano never scaled the heights of her competitors Sophia Loren and Gina Lollobrigida, she was a popular European film star in the 1950s and 1960s. Lux produced her subsequent films such as Anna (Alberto Lattuada, 1951) with Raf Vallone, and Ulisse/Ulysses (Mario Camerini, 1954), an adaptation of Homer's second epic featuring Kirk Douglas. Mangano played both Ulysses' faithful wife Penelope and the pig-fancying enchantress Circe. In 1949, she had married producer Dino De Laurentiis who controlled her career and launched her as the leading lady of international co-productions such as Mambo (Robert Rossen, 1954) with Michael Rennie, This Angry Age/Le barrage sur le Pacifique (René Clément, 1958) with Anthony Perkins, and 5 Branded Woman/Jovanka e le altre (Martin Ritt, 1960) with Jeanne Moreau. n 1967, Silvana Mangano starred in the anthology film Le streghe/The Witches (1967). The five episodes were directed by Mauro Bolognini, Vittorio De Sica, Pier Paolo Pasolini, Franco Rossi and Luchino Visconti. Visconti shot the quite cynical and biographical episode La strega bruciata viva/The Witch Burned Alive, and he later cast her again as Tadzio's (Björn Andrésen) aristocratic mother in Morte a Venezia/Death in Venice (Luchino Visconti, 1971), modeled on Visconti's own mother. She also played the cunning Cosima von Bülow in Ludwig (Luchino Visconti, 1972), and the hysterical marchesa Brumonti in Gruppo di famiglia in un interno/Conversation Piece (Luchino Visconti, 1974) opposite Burt Lancaster. Mangano also performed in three films by Pasolini: as Jocaste in Edipo re/Oedipus Rex (Pier Paolo Pasolini, 1967), an updated version of the Greek tragedy by Sophocles; as Lucia, the mother in Teorema/Theorem (Pier Paolo Pasolini, 1968) with Terence Stamp, and as the Holy Virgin - a small, uncredited role - in Il Decameron/The Decameron (Pier Paolo Pasolini, 1971).
In the 1980s, Silvana Mangano's life took a bad turn. In 1981 her son, Federico De Laurentiis was killed in an Alaskan air crash. In 1983 she separated from Dino De Laurentiis, though they did not divorce. She dedicated her time to making tapestries, alternating her domicile between Madrid and Paris. She did not perform in films anymore, except for Dune (David Lynch, 1984) and Oci ciornie/Dark Eyes (Nikita Mikhalkov, 1987), in which she played Romano's (Marcello Mastroianni) wife. Mangano began divorce proceedings in 1988. Silvana Mangano, who had always been a strong smoker, died of lung cancer in 1989, in a hospital in Madrid. She was only 59. Silvana Mangano had four children with Dino De Laurentiis: Veronica, Raffaella, Francesca, and the deceased Federico. Veronica's daughter Giada De Laurentiis is the host of Everyday Italian and Giada at Home on the Food Network. Raffaella coproduced with her father on Mangano's penultimate film, Dune (1984). Following her death, she was interred at Pawling Cemetery in Pawling, Dutchess County, New York.
Sources: Hal Erickson (AllMovie), Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
Verona - Piazza Bra und Arena
Piazza Bra, often shortened to Bra, is the largest piazza in Verona, Italy, with some claims that it is the largest in the country. The piazza is lined with numerous cafés and restaurants, along with several notable buildings. The Verona Arena, an amphitheatre built nearly 2000 years ago, is now a world-famous music venue with regular operatic and contemporary music performances. Verona's town hall, the Palazzo Barbieri, also looks out across the piazza.
Architecture
Verona Arena
The building itself was built in the first century AD on a site then beyond the city walls. The ludi (shows and games) staged there were so famous that spectators came from many other places, often far away, to witness them. While it can now host crowds of up to 22,000, the original amphitheatre could seat 30,000 spectators. The arena has been used by many contemporary performers including Pink Floyd, Rod Stewart, Elton John, and Muse. It has also hosted numerous operas, including in 1946 Ponchielli's La Gioconda which saw the debut of Maria Callas.
Gran Guardia
Palazzo della Gran Guardia, was the first building erected on the southern edge of Bra. It was originally designed by Domenico Curtoni as a roof built from the existing wall out to several pillars. Leonardo Donato, 90th Doge of Venice, had requested an area for troops to shelter in poor weather. Work commenced in 1610 but stopped when there was a shortfall in available funds. Nearly 200 years later, in 1808, architect Giuseppe Barbieri was commissioned to design and complete the project but it was a further 45 years before it was finished.
The building is now used as a venue for conferences, meetings, and exhibitions.
Palazzo Barbieri
Palazzo Barbieri is Verona's town hall. Originally named Palazzo della Gran Guardia Nuova, it was designed by Giuseppe Barbieri and was later named in his honour. Construction began in 1836 and was completed by 1848.
(Wikipedia)
The Verona Arena (Italian: Arena di Verona [aˈrɛːna di veˈroːna, aˈreːna -]) is a Roman amphitheatre in Piazza Bra in Verona, Italy built in 30 AD. It is still in use today and is internationally famous for the large-scale opera performances given there. It is one of the best preserved ancient structures of its kind. In ancient times, the arena's capacity was nearly 30,000 people. The stage for concerts and opera performances decreases the available places to a maximum of 15,000. It will be used as the closing ceremony venue for the 2026 Winter Olympics and two weeks later will be used for the Opening Ceremony for the 2026 Winter Paralympics in Milan and Cortina d'Ampezzo.
Amphitheatre
The building itself was built in AD 30 on a site which was then beyond the city walls. The ludi (shows and games) staged there were so famous that spectators came from many other places, often far away, to witness them.[citation needed] The amphitheatre could host more than 30,000 spectators in ancient times.
The round facade of the building was originally composed of white and pink limestone from Valpolicella, but after a major earthquake in 1117, which almost completely destroyed the structure's outer ring, except for the so-called "ala" (wing), the stone was quarried for re-use in other buildings. Nevertheless, it impressed medieval visitors to the city, one of whom considered it to have been a labyrinth, without ingress or egress. Ciriaco d'Ancona was filled with admiration for the way it had been built and Giovanni Antonio Panteo's civic panegyric De laudibus veronae, 1483, remarked that it struck the viewer as a construction that was more than human.
Opera venue
The first interventions to recover the arena's function as an opera venue began during the Renaissance. Some operatic performances were later mounted in the building during the 1850s, owing to its outstanding acoustics.
In 1913, operatic performances in the arena commenced in earnest due to the zeal and initiative of the Italian opera tenor Giovanni Zenatello and the impresario Ottone Rovato. The first 20th-century operatic production at the arena, a staging of Giuseppe Verdi's Aida, took place on 10 August of that year, to mark the birth of Verdi 100 years before in 1813. Musicians Puccini and Mascagni were in attendance. Since then, summer seasons of opera have been mounted continually at the arena, except in 1915–18 and 1940–45, when Europe was convulsed in war.
In modern times, at least four productions (sometimes up to six) are mounted each year between June and August. During the winter months, the local opera and ballet companies perform at the Teatro Filarmonico.
Modern-day travellers are advised that admission tickets to sit on the arena's stone steps are much cheaper to buy than tickets giving access to the padded chairs available on lower levels. Candles are distributed to the audience and lit after sunset around the arena.
Every year over 500,000 people see productions of the popular operas in this arena. Once capable of housing 20,000 patrons per performance (now limited to 15,000 because of safety reasons), the arena has featured many of world's most notable opera singers. In the post-World War II era, they have included Giuseppe Di Stefano, Maria Callas, Tito Gobbi and Renata Tebaldi among other names. A number of conductors have appeared there, too. The official arena shop has historical recordings made by some of them available for sale.
The opera productions in the Verona Arena had not used any microphones or loudspeakers until a sound reinforcement system was installed in 2011.
Arena di Verona Festival
Arena di Verona Festival is a summer festival of opera, inaugurated in 1913 with Giuseppe Verdi's Aida, to celebrate the centenary of the artist's birth.
Other uses
In recent times, the arena has also hosted several concerts of international rock and pop bands, among which Zucchero Fornaciari, who holds the record of the highest number of concerts in the location, 38 from 1989 to 2017, and the highest number of concerts during the same tour, 22 of the Black Cat World Tour, Roger Waters, Bruce Springsteen, Elisa, Eros Ramazzotti, Laura Pausini, Pink Floyd, Alicia Keys, One Direction, Simple Minds (whose concert film Verona was filmed at the venue during their Street Fighting Years Tour on 15 September 1989) Duran Duran, Deep Purple, The Who, Dire Straits, Mike Oldfield, Rod Stewart, Michael Flatley, Sting, Pearl Jam, Radiohead, Peter Gabriel, Björk, Muse, Leonard Cohen, Paul McCartney, Jamiroquai, Whitney Houston, Mumford & Sons, Kiss, Spandau Ballet, 5 Seconds Of Summer, 2Cellos and Evanescence.
In 1981, 1984, 2010 and 2019 it hosted the podium and presentation of the Giro d'Italia with thousands packing the arena to watch the prizes being handed out.
(Wikipedia)
Die historische Altstadt von Verona ist 2000 in die Liste des UNESCO-Welterbes aufgenommen worden.
Die Stadt wurde im 1. Jahrhundert v. Chr. gegründet, sie blühte besonders auf unter der Herrschaft der Scaliger im 13. und 14. Jahrhundert n. Chr. und als ein Teil der Republik von Venedig vom 15. bis 18. Jahrhundert n. Chr. In Verona sind eine bemerkenswert große Zahl von Denkmälern des Altertums, des Mittelalters und des Zeitalters der Renaissance erhalten geblieben. Sie ist ebenfalls ein hervorragendes Beispiel für eine militärische Festungsanlage, die zwei Jahrtausende in Gebrauch war.
Zusammenfassung der Stadtentwicklung
Die Stadt liegt in Norditalien am Fluss Etsch (italienisch Adige) und am Fuß der Lessinischen Alpen. Der Siedlungsplatz geht auf prähistorische Zeiten zurück, eine kleine Siedlung entwickelte sich zwischen dem 4. und 3. Jahrhundert v. Chr. und wurde ein römisches Municipium im 1. Jahrhundert v. Chr.; danach wuchs seine Bedeutung rasch an. Während des 5. Jahrhunderts n. Chr. wurde Verona vom Ostgoten Theoderich I. erobert, später von den Langobarden und 774 von Karl dem Großen.
Im frühen 12. Jahrhundert wurde es eine unabhängige Kommune, die unter der Signoria der Scaliger und besonders unter Cangrande I. aufblühte. 1495 fiel sie an Venedig, ab 1797 wurde sie ein Teil des Habsburger Reichs und gelangte 1866 nach dem Dritten Italienischen Unabhängigkeitskrieg zum Königreich Italien.
Die Altstadt
Der Kern der Altstadt besteht aus der römischen Siedlung, die sich in den Flussbogen der Etsch schmiegt und eine der umfangreichsten Ansammlungen römischer Relikte in Norditalien enthält. Erhalten gebliebene Reste der Antike sind:
das Stadttor Porta Borsari,
die Reste der Porta Leoni, beide Tore sind die augenfälligsten Überreste der römischen Stadtmauer von Verona
der Arco dei Gavi, der in der Napoleonischen Zeit abgebaut und nahe dem Castelvecchio in den 1930er Jahren wieder aufgebaut wurde,
die Ponte Pietra,
das römische Theater und
das Amphitheater Arena.
Die Scaliger bauten die Mauern während des Mittelalters wieder auf, die dann ein viel größeres Gebiet im Westen und ein weiteres ausgedehntes Gebiet am Ostufer des Flusses umschlossen. In diesen Grenzen blieb die Stadt bis zum 20. Jahrhundert.
Das Herz von Verona ist das Ensemble, das aus der Piazza delle Erbe (mit seinem malerischen Obst- und Gemüsemarkt) und der Piazza dei Signori besteht, mit historischen Gebäuden wie dem Palazzo del Comune, dem Palazzo del Governo, der Loggia del Consiglio, den Arche Scaligere und dem Domus Nova. Die Piazza Bra besitzt eine Reihe von Bauwerken, die aus verschiedenen Epochen stammen.
Veronas erhalten gebliebene Architektur und Stadtstruktur spiegeln die Entwicklung einer befestigten Stadt mit einer 2000-jährigen Geschichte wider.
Unversehrtheit, Unverfälschtheit und Schutz der Welterbe-Stadt
Die folgenden Eigenschaften eines Welterbe-Objekts werden zusammengefasst für Verona wie folgt beurteilt:
Unversehrtheit
Die Unversehrtheit des Stadtbilds von Verona wird als außergewöhnlich hoch und die Struktur als recht homogen eingeschätzt. Auch die Schäden, die während des Zweiten Weltkriegs auftraten, wurden mit äußerster Sorgfalt behoben. Bedrohungen dieser Unversehrtheit durch Überschwemmungen wurden frühzeitig minimiert und für ein Erdbeben besteht ein geringes Risiko.
Unverfälschtheit
Die Echtheit und Unverfälschtheit der Altstadt von Verona ist hoch. Was zum Beispiel die Befestigungen der Stadt betrifft, so ist dieses Verteidigungssystem gut über die verschiedenen Zeiträume der militärischen Nutzung bewahrt worden. Man wandte nach dem Zweiten Weltkrieg die eingeführten Grundsätze der Restaurierung an, die seit der Mitte des 19. Jahrhunderts in Italien zur Tradition geworden sind.
Schutz und Denkmal-Management
Viele Institutionen kümmern sich um den Schutz des Welterbes und die gelisteten Gebäude und Denkmäler werden durch ein staatliches Schutzgesetz für das Kulturerbe und beauftragte Superintendanten überwacht und abgesichert. Es gibt ein UNESCO-Büro zur Koordination und es herrscht eine gute Zusammenarbeit zwischen allen Institutionen.
(Wikipedia)
Die Arena von Verona (italienisch Arena di Verona) ist ein gut erhaltenes römisches Amphitheater im historischen Zentrum der italienischen Stadt Verona. Sie ist ein Symbol der venetischen Stadt zusammen mit den Figuren von Romeo und Julia. Es handelt sich um eines der großen Gebäude, die charakteristisch für die römische Architektur sind, und eines der antiken Amphitheater, das dank der systematischen Restaurierungen seit dem 16. Jahrhundert am besten erhalten geblieben ist. Gerade aus diesem Grund erlaubt es trotz der zahlreichen Veränderungen dem Besucher sich die Struktur von dieser Art von Gebäuden leicht vorzustellen, die strikt der Funktion, für die sie bestimmt waren, unterworfen wurde, und dennoch von grundlegender Schönheit ist.
Beschreibung
Ursprünglich hatte die Arena eine Größe von 152 Meter × 113 Meter. Verblieben sind noch 138 Meter × 109 Meter, bei einer Höhe von genau 24,1 Meter. Damit ist die Arena in Verona immer noch – nach dem Kolosseum in Rom und der Arena von Capua – das drittgrößte der erhaltenen antiken Amphitheater. Die 45 Stufenränge des Zuschauerraums sind jeweils etwa 45 Zentimeter hoch und tief und bieten 22.000 Zuschauern Platz.
Geschichte
Das Amphitheater wurde etwa im Jahr 30 n. Chr. außerhalb der römischen Stadtmauern errichtet. Es fasste über 30.000 Zuschauer und wurde für Gladiatorenkämpfe und Wettkämpfe genutzt. Die Fassade war mit weißem und rosa Kalkstein verkleidet. 265 wurde unter Kaiser Gallienus die bestehende Stadtmauer um die Arena herum verlängert.
Vielfach wurde angenommen, dass der größte Teil des Außenrings bei einem Erdbeben im Jahr 1117 zerstört wurde. Archäologische Funde von markierten Steinen des äußeren Ringes haben jedoch gezeigt, dass bereits der Ostgotenkönig Theoderich nach der Inbesitznahme der Stadt 489 den Außenring einreißen ließ und die Steine zum Aufbau seiner neuen Stadtmauer verwendete. Wahrscheinlich wurde der Ring auch aus militärischen Gründen abgerissen, da die Arena die Stadtmauern sonst um einiges zu überragen drohte.
Auch später noch diente das Bauwerk als Steinbruch für die wachsende mittelalterliche Stadt. Von den ursprünglich 72 Bögen des Außenrings sind nur noch vier erhalten. Sie werden von den Veronesern „l’ala“ – der Flügel – genannt. Im Jahr 1278 war die Arena der Schauplatz der letzten großen Katharer-Hinrichtung: Nach den Erfolgen der Inquisition in den 1250er Jahren in Südfrankreich in deren Kampf gegen die Katharer zogen sich die Überlebenden nach Norditalien zurück. Sie fanden in Sirmione eine letzte Zufluchtsstätte. 1276 wurden sie von Alberto I. della Scala im Auftrag des Veroneser Bischofs in Sirmione gefangen genommen und 1278 in der Arena von Verona verbrannt.
In der Renaissance gab es Bestrebungen, das Bauwerk wieder als Theater zu nutzen. Dies geschieht aber erst seit 1913 regelmäßig. Am 10. August 1913 wurde anlässlich des 100. Geburtstags von Giuseppe Verdi die Oper Aida aufgeführt. Aufgrund der hervorragenden Akustik konnte sich die Arena schnell als Konzertstätte etablieren. Vor allem in den Monaten Juni, Juli und August finden Opernaufführungen und Rock-Konzerte statt, während im Frühjahr und Herbst viele internationale Sänger und Musiker hier Station machen, wie Gianna Nannini, Adriano Celentano, Zucchero, Bryan Adams, Bon Jovi, Brian May & Kerry Ellis oder Bruce Springsteen.
(Wikipedia)
Spanish postcard by Archivo Bermejo, 1953. Photo: Lux Films / Rey Soria. Silvana Mangano in Riso Amaro/Bitter Rice (Giuseppe De Santis, 1949).
Beautiful Italian film star Silvana Mangano (1930-1989) will be remembered most for the sexy rice picker in Riso Amaro/Bitter Rice (1949), and for Tadzio's elegant mother in Morte a Venezia/Death in Venice (1971).
Silvana Mangano was born in Rome in 1930 to an Italian father, a Sicilian train conductor, and an English mother. Her brother was sound technician Roy Mangano and her sisters are one-time actresses Patrizia Mangano and Natascia Mangano. Silvana grew up in poverty caused by the Second World War. Trained for seven years as a dancer by Zhia Ruskaya, she was supporting herself as a model. At 16, she won the Miss Rome beauty contest in 1946 and got a small role in the opera adaptation L'Elisir d'amore/Elixir of Love (Mario Costa, 1948) with Tito Gobbi. She was also nominated for the Miss Italia contest in 1947, which Lucia Bosé won. Mangano's earliest connection with filmmaking occurred through her romantic relationship with actor Marcello Mastroianni. Mangano started to play small roles in films like Il delitto di Giovanni Episcopo/Flesh Will Surrender (Alberto Lattuada, 1947), Gli uomini sono nemici/Crossroads of Passion (1948, Ettore Giannini) with French diva Viviane Romance, and Black Magic (Gregory Ratoff, 1949) starring Orson Welles. She had her breakthrough with the neo-realistic crime story Riso amaro/Bitter Rice (Giuseppe De Santis, 1949), situated in the rice fields along the Po river in Northern Italy. Mangano played the voluptuous rice picker Silvana, who falls for the criminal Walter (Vittorio Gassman) and his presumed wealth. The thousands of female rice workers, up to their ankles in the water, breaking their backs in the burning sun to earn a few bucks, make an impressive decor. To the standards of 1949s Roman Catholic Italy Mangano's performance in hotpants was shocking. This earned Riso Amaro a lot of publicity and earned Mangano a contract with the Lux company.
Though Silvana Mangano never scaled the heights of her competitors Sophia Loren and Gina Lollobrigida, she was a popular European film star in the 1950s and 1960s. Lux produced her subsequent films such as Anna (Alberto Lattuada, 1951) with Raf Vallone, and Ulisse/Ulysses (Mario Camerini, 1954), an adaptation of Homer's second epic featuring Kirk Douglas. Mangano played both Ulysses' faithful wife Penelope and the pig-fancying enchantress Circe. In 1949, she had married producer Dino De Laurentiis who controlled her career and launched her as the leading lady of international co-productions such as Mambo (Robert Rossen, 1954) with Michael Rennie, This Angry Age/Le barrage sur le Pacifique (René Clément, 1958) with Anthony Perkins, and 5 Branded Woman/Jovanka e le altre (Martin Ritt, 1960) with Jeanne Moreau. n 1967, Silvana Mangano starred in the anthology film Le streghe/The Witches (1967). The five episodes were directed by Mauro Bolognini, Vittorio De Sica, Pier Paolo Pasolini, Franco Rossi and Luchino Visconti. Visconti shot the quite cynical and biographical episode La strega bruciata viva/The Witch Burned Alive, and he later cast her again as Tadzio's (Björn Andrésen) aristocratic mother in Morte a Venezia/Death in Venice (Luchino Visconti, 1971), modeled on Visconti's own mother. She also played the cunning Cosima von Bülow in Ludwig (Luchino Visconti, 1972), and the hysterical marchesa Brumonti in Gruppo di famiglia in un interno/Conversation Piece (Luchino Visconti, 1974) opposite Burt Lancaster. Mangano also performed in three films by Pasolini: as Jocaste in Edipo re/Oedipus Rex (Pier Paolo Pasolini, 1967), an updated version of the Greek tragedy by Sophocles; as Lucia, the mother in Teorema/Theorem (Pier Paolo Pasolini, 1968) with Terence Stamp, and as the Holy Virgin - a small, uncredited role - in Il Decameron/The Decameron (Pier Paolo Pasolini, 1971).
In the 1980s, Silvana Mangano's life took a bad turn. In 1981 her son, Federico De Laurentiis was killed in an Alaskan air crash. In 1983 she separated from Dino De Laurentiis, though they did not divorce. She dedicated her time to making tapestries, alternating her domicile between Madrid and Paris. She did not perform in films anymore, except for Dune (David Lynch, 1984) and Oci ciornie/Dark Eyes (Nikita Mikhalkov, 1987), in which she played Romano's (Marcello Mastroianni) wife. Mangano began divorce proceedings in 1988. Silvana Mangano, who had always been a strong smoker, died of lung cancer in 1989, in a hospital in Madrid. She was only 59. Silvana Mangano had four children with Dino De Laurentiis: Veronica, Raffaella, Francesca, and the deceased Federico. Veronica's daughter Giada De Laurentiis is the host of Everyday Italian and Giada at Home on the Food Network. Raffaella coproduced with her father on Mangano's penultimate film, Dune (1984). Following her death, she was interred at Pawling Cemetery in Pawling, Dutchess County, New York.
Sources: Hal Erickson (AllMovie), Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.