Patrizio Buanne was born in Vienna, Austria to Neapolitan parents and has from an early age spent his childhood living and traveling (due to his parent’s restaurant business) between these two grand, historical cities that shaped his upbringing and personality:
This multi-cultural upbringing sparked in Patrizio an early passion for languages, and by the age of 17 he already spoke fluent Neapolitan, German, English, French and Spanish. It seemed obvious for Patrizio and his parents for him to become an interpreter, and after graduation from school he went on to study Roman and Slavic languages at University and that way he could add fluent Italian and Polish to his language tool kit.
But whilst his aptitude for languages is admirable, a much greater gift, apparent even from the age of 4, was emerging – his gift to be able to sing and entertain people.
At the age of eight Patrizio received his first guitar which further encouraged his interest in entertaining his family and friends in the “Buanne home”.
At the age of eleven, Patrizio had the first of his many appearances in talent contests. With the conviction at such an early age to, ultimately, become a singer and actor he ended up winning all the competitions he ever participated in.
When Patrizio was seventeen, a music industry manager who had heard Patrizio sing proposed a performance at the occasion of the “Papal visit” (John Paul II) in Wroclaw, Poland. The song, which was half in Italian, half in polish, had been written for the opening mass, and with 85.000 people in attendance Patrizio’s sudden popularity with the polish public led to his first local record deal.
Tragically, it was also to be the year that his father died from virulent cancer, and the subsequent grief became such that Patrizio almost lost his own life to a perforated ulcer.
At nineteen, Patrizio graduated from school in Vienna and moved back to Naples and later Rome, Italy to study languages, whilst looking out for opportunities in the entertainment industry.
Patrizio quickly became popular through various talent competitions, and was requested to be a guest and entertainer on various Italian television shows such as “Momenti di Gloria”, “Domenica In” and “Libero”. This success lead to Patrizio being offered a contract to work as an entertainer for the production company that produced shows for the Italian Broadcasting Corporation, RAI and Mediaset.
Patrizio’s real ambition, however, was to become an international recording artist, in recording with an orchestra comprising a collection of romantic and fun songs from the Italian songbook. –A repertoire from a different era, yet timeless and loved around the world to show that Italian music is not just opera or classical, but that there are countless tunes that are originally Italian, and became international standards over the years.
It took 5 years, and in 2004 Patrizio was contacted by a producer who was interested in Patrizio’s concept, idea and voice and above all seemed to have the right financial resources to realise his passionate dream and his first international debut album“The Italian” was released on the 28th of February 2005 in the UK. It reached the top ten on the pop charts in the UK, where it attained golden status after selling 100.000 copies in only 1 week. Countless TV and radio interviews followed.
Patrizio’s second album 2007 “Forever Begins Tonight” included an Italian version of “Angels” (entitled “Un angelo”), which became Patrizio’s first radio hit in the United States.
In less than two years, his debut album “The Italian” (2005) and “Forever begins tonight” (2007) had captured the hearts of fans, of timeless Italian songs, worldwide to the extent that over a 2 million albums were sold, and all this without Patrizio having a famous producer (such as David Foster), no international radio hit and still no professional music management behind Patrizio.
Then Patrizio founded “MondoBuanne Productions” and take his career to the next level, and recorded his third album “PATRIZIO” in 2009, with both Patrizio’s trade mark romantic Italian songs, and his own contemporary and timeless interpretation of International standards, alongside some stunning new compositions.
In the following years, Patrizio started to sing and record in multiple languages such as Italian, English, German, even Afrikaans language, and sometimes mixed different languages in a same song.
On his fourth worldwide release “Viva la Dolce Vita” (2015 Universal Music) Patrizio still remained true to his role as an “Ambassador for Italian song”, but ‘Viva la Dolce Vita’ found the Neapolitan broadening his horizons and has put a more international slant on his natural way with a song and recorded also some more new material written especially for him.
Rudolf Noureevn est un danseur classique, chorégraphe et directeur de ballet d'origine tatare né le 17 mars 1938 à Irkoutsk (Union soviétique) et mort le 6 janvier 1993 à Levallois-Perret (Hauts-de-Seine).
Doué d'une technique exemplaire, Rudolf Noureev est considéré comme le plus grand danseur classique et comme l'un des plus grands chorégraphesn. Il est surnommé le « seigneur de la danse ».
Rudolf Noureev fut l'un des meilleurs interprètes du répertoire classique, mais il affirma aussi son talent dans la danse contemporaine et fut l'un des premiers danseurs à s'intéresser de nouveau au répertoire baroque
Rudolf Nureyev is a Russian ballet and contemporary dancer, choreographer and director of ballet.
Endowed with an extraordinary technique, Rudolf Nureyev was considered as the greatest male ballet dander of his generation and one of the greatest choreographers, and was nicknamed "The lord of dance". Nureyev was one of the best interpreters of classic Russian ballet as well as of contemporary dances.
Rudolf Nureyev was born on a Trans-Siberian train near Irkutsk, Siberia, Soviet Union to a Tatar Muslim family and started dancing at age of 7. He began his early career with the Mariinsky Ballet in St. Petersburg and defected from the Soviet Union to the West in 1961.
This was the first defection of a Soviet artist during the Cold War and it created an international sensation.
Soon after his defection, Dame Ninette de Valois, director of The Royal Ballet in London offered Rudolf Nureyev a contract to join The Royal Ballet as Principal Dancer, and it was here he met Margot Fonteyn, the Prima Ballerina of The Royal Ballet, and danced with her for the first time in Giselle, a ballet matinée on 21 February 1962. Thus the most legendary partnership in the 20th century dance world was formed.
Nureyev stayed with the Royal Ballet until 1970, when he was promoted to Principal Guest Artist, enabling him to concentrate on his increasing schedule of international guest appearances and tours. But he continued to perform regularly with The Royal Ballet until committing his future to the Paris Opera Ballet in the 1980s.
Rudolf Nureyev served as director of the Paris Opera Ballet 1983 to 1989. In addition to his technical prowess, Rudolf Nureyev was an accomplished choreographer serving as the chief choreographer of the Paris Opera Ballet. He produced his own interpretations of numerous classical works, including Swan Lake, Giselle, Sleeping Beauty and La Bayadère.
He also served as mentor of many young dancers working in Paris Opera Ballet, such as Sylvie Guillem, Isabelle Guérin, Manuel Legris, Elisabeth Maurin, Élisabeth Platel, Charles Jude, and Monique Loudières,etc.
In 1984, Rudolf Nureyev tested positive for HIV, but he continued to work relentlessly as dancer, choreographer and director of Paris Opera Ballet, not leaving the post until 1989.\
On 8 October 1992, Nureyev danced at the premiere at Palais Garnier of a new production of La Bayadère that he choreographed after Marius Petipa for the Paris Opera Ballet.
The ballet was a personal triumph although the gravity of his condition was evident. The French Culture Minister, Jack Lang, presented him that evening on stage with France's highest cultural award, the Commandeur de l'Ordre des Arts et des Lettres. That would be Rudolf Nureyev's last public appearance.
On 6 January 1993, Rudolf Nureyev died from AIDS complications at hospital Notre Dame du Perpétuel Secours in Levallois-Perretat, age 54. His funeral was held in the marble foyer of the Paris Garnier Opera House.
After so many years of having been denied a place in the Mariinsky Ballet history, Nureyev's reputation was restored. His name was reentered in the history of the Mariinsky and some of his personal effects were placed on display at the theatre museum in St. Petersburg. At the famed Vaganova Academy a rehearsal room was named in his honour. And At the Paris Opera there is a tradition to organize a dance night as homage to Rudolf Nureyev every ten years after he died in 1993.
Life of Margot Fonteyn
Dame Margot Fonteyn, DBE (18 May 1919 – 21 February 1991), stage name of Margaret Evelyn de Arias, was an English ballerina. She spent her entire career as a dancer with the Royal Ballet (formerly the Sadler's Wells Theater Company), eventually being appointed prima ballerina assoluta of the company by Queen Elizabeth II in 1979.
Beginning ballet lessons at the age of four, she studied in England and China, where her father was transferred for his work. Her training in Shanghai was with George Goncharov, contributing to her continuing interest in Russian ballet. Returning to London at the age of 14, she was invited to join the Vic-Wells Ballet School by Ninette de Valois and succeeded Alicia Markova as prima ballerina of the company in 1935 at age 16. The Vic-Wells choreographer, Sir Frederick Ashton, wrote numerous parts for Fonteyn and her partner, Robert Helpmann, with whom she danced from the 1930s to the 1940s.
In 1946, the Vic-Wells company(now renamed the Sadler's Wells Ballet), moved into the Royal Opera House at Covent Garden where Fonteyn's most frequent partner throughout the next decade was Michael Somes. Her performance in Tchaikovsky’s The Sleeping Beauty became a distinguishing role for both Fonteyn and the company, but she was also well known for the ballets created by Ashton, including Symphonic Variations, Cinderella, Daphnis and Chloe, Ondine and Sylvia.
In 1949, she led the company in a tour of the United States and became an international celebrity. Before and after the Second World War, Fonteyn performed in televised broadcasts of ballet performances in Britain.
In 1955, she married the Panamanian politician Roberto Arias and appeared in a live colour production of The Sleeping Beauty aired on NBC. Thanks to her international acclaim and many guest artist requests, the Royal Ballet allowed Fonteyn to become a freelance dancer in 1959.
They were most noted for their classical performances in works such as Le Corsaire Pas de Deux, Les Sylphides, La Bayadère, Swan Lake, and Raymonda, in which Nureyev sometimes adapted choreographies specifically to showcase their talents.
Sir Frederick Ashton choreographed Marguerite and Armand for Margot Fonteyn and Rudolf Nureyev,which no other couple danced until the 21st century.
The 1963 premiere was well publicised before its 1963 opening and teamed them with Michael Somes, one of Margot Fonteyn's dancing partners. Composed as a series of pas de deux, interrupted by only one solo, the ballet built intensity from the initial coup de foudre to the death scene. According to Somes, the pairing of Nureyev and Fonteyn was brilliant, as they were not partners but two stars of equal talent who pushed each other to their best performances. The production was an immediate success, and Marguerite and Armand became a signature work for the duo, sealing their partnership.
In 1961, when Fonteyn was considering retirement, Rudolf Nureyev defected from the Kirov Ballet while dancing in Paris. Margot Fonteyn danced with him in his début with the Royal Ballet in Giselle on 21 February 1962. The duo immediately became an international sensation, each dancer pushing the other to their best performances.
In 1964, Margot Fonteyn's husband was shot during an assassination attempt and became a quadriplegic, requiring constant care for the remainder of his life. In 1972, Fonteyn went into semi-retirement, although she continued to dance periodically until the end of the decade.
In 1979, she was fêted by the Royal Ballet and officially pronounced the prima ballerina assoluta of the company.
Margot Fonteyn retired to Panama, where she spent her time writing books, raising cattle, and caring for her husband. She died from ovarian cancer exactly 29 years after her premiere with Nureyev in Giselle.
Galina Sergeyevna Ulanova
Galina Sergeyevna Ulanova (8 January 1919 – 21 March 1998) was a Russian ballet dancer. She is frequently cited as being one of the greatest ballerinas of the 20th century.
Ulanova was born in Saint Petersburg, Russia, where she studied under Agrippina Vaganova and her own mother, a ballerina of the Imperial Russian Ballet. When she joined the Mariinsky Theatre in 1928, the press found in her "much of Semyonova's style, grace, the same exceptional plasticity and a sort of captivating modesty in her gestures". They say that Konstantin Stanislavsky, fascinated with her acting style, implored her to take part in his stage productions.
In 1944, when her fame reached Joseph Stalin, he had her transferred to the Bolshoi Theatre, where she would be the prima ballerina assoluta for 16 years. The following year, she danced the title role in the world premiere of Sergei Prokofiev's Cinderella.
In 1954, she published her autobiography: L'École d'une ballerine, translated from Russian into French by Jean Champenois.
Ulanova was a great actress as well as a dancer. In 1965, when she was finally allowed to tour abroad at the age of 46, enraptured British papers wrote that "Galina Ulanova in London knew the greatest triumph of any individual dancer since Anna Pavlova". Having retired from the stage at the age of 50, she coached many generations of the Russian dancers.
Ulanova was one of the few dancers to be awarded Hero of Socialist Labour and the only one to receive this honour twice. She was also awarded the highest exclusively artistic national title, People's Artist of the USSR. And she was awarded the Stalin Prize in 1941, 1946, 1947, 1950, and the Lenin Prize in 1957. She was elected a Foreign Honorary Member of the American Academy of Arts and Sciences in 1960.
She died in 1998 in Moscow, aged 88, and is buried in the cemetery of the Novodevichy Convent.
Ulanova's apartment in one of Moscow's Seven Sisters, the Kotelnicheskaya Embankment Building, is preserved now as a memorial museum. Monuments to Ulanova were erected in Saint Petersburg and Stockholm.
Maya Mikhailovna Plisetskaya (20 November 1925 – 2 May 2015) was a Soviet ballet dancer, choreographer, ballet director, and actress. In post-Soviet times, she held both Lithuanian and Spanish citizenship. She danced during the Soviet era at the Bolshoi Theatre under the directorships of Leonid Lavrovsky, then of Yury Grigorovich; later she moved into direct confrontation with him. In 1960 when Galina Ulanova, another famed Russian ballerina retired, Plisetskaya became prima ballerina assoluta of the company.
Her early years were marked by political repression and loss. Her father Mikhail Plisetski, a Soviet official, was arrested in 1937 and executed in 1938, during the Great Purge. Her mother actress Rachel Messerer was arrested in 1938 and was imprisoned for a few years, then held in a concentration camp together with her infant son. Maya was adopted by their aunt Sulamith Messerer, principal dancers of the Bolshoi.
Plisetskaya studied ballet at The Bolshoi Ballet School from age nine, and she first performed at the Bolshoi Theatre when she was eleven. She studied ballet under the direction of Elizaveta Gerdt and also her aunt, Sulamith Messerer.
Graduating in 1943 at the age of eighteen, she joined the Bolshoi Ballet company, quickly rising to become their leading soloist. As a soloist, Plisetskaya created a number of leading roles, including Juliet in Lavrovsky’s Romeo and Juliet; Phrygia in Yakobson’s Spartacus (1958); in Grigorovich’s ballets: Mistress of the Copper Mountain in The Stone Flower (1959); Aurora in The Sleeping Beauty (1963); Mahmene Banu in The Legend of Love (1965); Alberto Alonso’s Carmen Suite (1967), written especially for her; and Maurice Bejart’s Isadora (1976). As an artist she had an inexhaustible interest in new roles and dance styles, and she liked to experiment on stage.
Among her most acclaimed roles were Kitri in Don Quixote, Odette-Odile in Swan Lake and The Dying Swan. Her interpretation of The Dying Swan, a short showcase piece made famous by Anna Pavlova, became her calling card. Plisetskaya was known for the height of her jumps, her extremely flexible back, the technical strength of her dancing, and her charisma. She excelled both in adagio and allegro, which is very unusual in dancers.
Despite her acclaim, Plisetskaya was not treated well by the Bolshoi management and she was not allowed to tour outside the country for sixteen years, concerning about her defection due to her family history. Then in 1959, Plisetskaya wrote to the Soviet Premier Nikita Khrushchev “a long and forthright expression of her patriotism and her indignation that it should be doubted.” and he finally decided to lift her travel ban.
Since then, for the next 3 decades, with the international exposure she long deserved, Maya Plisetskaya changed the world of ballet. She set a higher standard for ballerinas, both in terms of technical brilliance and dramatic presence.
After performing in Spartacus during her 1959 U.S. debut tour, Maya Plisetskaya was rated second only to Galina Ulanova by Life magazine in its issue featuring the Bolshoi. And Spartacus became a significant ballet for the Bolshoi, with one critic describing their "rage to perform", personified by Plisetskaya as ballerina, "that defined the Bolshoi."
With just a few years of travelling outside Russia, Maya Plisetskaya became “an international superstar” and a continuous “box office hit throughout the world,” and she was treated by the Soviet Union as a favoured cultural emissary.
Although she toured extensively during the same years that other prominent dancers defected, including Rudolf Nureyev, Natalia Makarova, and Mikhail Baryshnikov, Plisetskaya always return to Russia.
Fashion designers Yves Saint Laurent and Pierre Cardin considered Plisetskaya one of their inspirations, with Cardin alone having traveled to Moscow over 30 times just to see Plisetskaya perform, and she credits Cardin's costume designs for the success and recognition she received for her ballets of Anna Karenina(1974), The Seagull (1980), and Lady with the Lapdog(1985).
Plisetskaya recalls Cardin's reaction when she initially suggested he design one of her costumes: "Cardin's eyes lit up like batteries. As if an electrical current passed through them." Within a week Cardin had created a design for Anna Karenina, and over the course of her career he created ten different costumes for just Karenina.
Maya Plisetskaya married composer Rodion Shchedrin in 1958, who later wrote many music scores for her ballets, such as Carmen Suite created by Cuban choreographer Alberto Alonso in 1966, and later Anna Karenina(1974), The Seagull (1980), and Lady with the Lapdog(1985) seperately.
In the 1980s, Plisetskaya and her husband Shchedrin spent time abroad extensively, where she worked for some of the world's most important ballet companies. In 1983–84, She was ballet director of the Rome Opera, and from 1987 to 1990, she was artistic director of Ballet del Teatro Lirico Nacional in Madrid.
In 1990, Maya Plisetskaya retired as a soloist for the Bolshoi at age 65 and the next year she published her autobiography, I, Maya Plisetskaya.
Beginning in 1994, she presided over the annual international ballet competition in Saint Petersburg, called Maya. In 1996 she was named the President of the Imperial Russian Ballet, Moscow private dance company and danced the Dying Swan, her signature role, at a gala in her honour in St. Petersburg.
During her long and successful career, Maya Plisetskaya had won the highest awards in Soviet Union, such as the Lenin Prize and three orders of Lenin. She was also awarded many times internationally: In France, she was decorated Chevalier of the Legion of Honour and a Commander of the Order of Arts and Letters, and made an honorary doctor of the Sorbonne University; In Spain, she was awarded the Prince of Asturias Award for the Arts in 2005 together with the Spanish ballerina Tamara Rojo, and then awarded the Spanish Gold Medal of Fine Art. And she was also awarded in other European countries like Lithuania and Poland.
In 2006, Emperor Akihito of Japan presented her with the Praemium Imperiale, informally considered a Nobel Prize for Art.
Maya Plisetskaya died in Munich, Germany, on 2 May 2015 from a heart attack. Plisetskaya was survived by her husband Rodion Shchedrin, and a brother, former dancer Azari Plisetsky, a teacher of choreography at the Béjart Ballet in Lausanne, Switzerland.
According to her last will and testament, she was to be cremated, and after the death of her husband, who is also to be cremated, their ashes are to be combined and spread over Russia.
Leonard Cohen, was the male voice of Canada, for half a century, then there is Garou(whose original name Pierre Garand), also from Quebec.
Both Canadians look like American movie stars. If Leonard Cohen looked like Dustin Hoffmann, Garou looks like Matt Damon, and both have deep husky voice, but Garou's voice sounds as if he were carrying 5 kilo explosive under his lungs, as demonstrated in his debut as Quasimodo in the comédie musicale Notre Dame de Paris in 1998.
Notre Dame de Paris Chanson Belle Garou with Daniel Lavoie, Patrick Fiori
Notre Dame de Paris Chanson Belle lyrics
" Belle C'est un mot qu'on dirait inventé pour elle
Quand elle danse et qu'elle met son corps à jour, tel
Un oiseau qui étend ses ailes pour s'envoler
Alors je sens l'enfer s'ouvrir sous mes pieds
J'ai posé mes yeux sous sa robe de gitane
À quoi me sert encore de prier Notre-Dame
Est celui qui lui jettera la première pierre
Celui-là ne mérite pas d'être sur terre
Ô Lucifer! Oh! Laisse-moi rien qu'une fois
Glisser mes doigts dans les cheveux d'Esmeralda "
Frollo (Daniel Lavoie)
" Belle Est-ce le diable qui s'est incarné en elle
Pour détourner mes yeux du Dieu éternel
Qui a mis dans mon être ce désir charnel
Pour m'empêcher de regarder vers le Ciel
Elle porte en elle le péché originel
La désirer fait-il de moi un criminel
Qu'on prenait pour une fille de joie une fille de rien
Semble soudain porter la croix du genre humain
Ô Notre-Dame! Oh! Laisse-moi rien qu'une fois
Pousser la porte du jardin d'Esmeralda "
Phoebus (Patrick Fiori)
" Belle Malgré ses grands yeux noirs qui vous ensorcellent
La demoiselle serait-elle encore pucelle?
Quand ses mouvements me font voir monts et merveilles
Sous son jupon aux couleurs de l'arc-en-ciel
Ma dulcinée laissez-moi vous êtes infidèle
Avant de vous avoir menée jusqu'à l'autel
Unlike Leonard Cohen, who exprimented with writing novel and poetry before turning to music and singing, Garou was a singer from the beginning and succeeded much earlier, and unlike Cohen who sang in English, Garou sings most in French, and the way he dresses is more French-black on black, black suit with black shirt within, black leather jacket with black t-shirt, and sometimes with that distinctively French touch: the red thread sewed in the button hole of his black suit.
After Notre Dame de Paris, Garou went solo, and named his first album Seul (Solo, Alone), what did not change was his explosive voice and evocative melodies.