LEONCAVALLO, ASSEMBLEA CITTADINA
A due mesi dallo sgombero del Leoncavallo si è tenuta ieri in via Bellezza un'assemblea cittadina per parlare del futuro dello storico spazio sociale milanese, ma anche della metropoli.
#leoncavallo
ASSEMBLEA CITTADINA
Mercoledì 22 Ottobre, ore 20:30
ARCI Milano – sede provinciale – via Bellezza, 16
La città che vogliamo, il Paese che costruiamo, il mondo che immaginiamo.
Il 18 ottobre 1975 uno stabile di via Mancinelli a #Milano venne occupato da alcuni "comitati di caseggiato", dai collettivi antifascisti della zona assieme ad Avanguardia Operaia, da qualche esponente di Lotta Continua e Movimento Lavoratori per il Socialismo, dagli "ex cattolici" libertari e dai marxisti-leninisti. Era nato il Centro Sociale #Leoncavallo E questa è una canzone dei #Gang - Perché Fausto e Iaio? - Invidious https://iv.duti.dev/watch?v=EpuDOJ92zX0
Leoncavallo, acquisiremo lo spazio di via Watteau.
"Se le istituzioni della Città e del Paese non sono state capaci di acquisire lo spazio di via Watteau per il Leoncavallo, sarà il Leoncavallo che acquisirà lo spazio di via Watteau per la città e per il Paese".
LEONCAVALLO, ASSEMBLEA CITTADINA
A due mesi dallo sgombero del Leoncavallo Spazio Pubblico Autogestito mercoledì 22 ottobre assemblea cittadina per parlare del futuro dello storico spazio sociale milanese, ma anche della metropoli.
Tonight, I decided to do a double bill, since both of the operas in question were short, and they are often paired together. I chose Pagliacci and Cavalleria rusticana. The text on this site is extremely clean i.e. free of ocr errors which plague almost everything I read in general, since I prefer old literature, much of it obscure. I was, therefore, very pleased to find both libretti here.
Pagliacci
Libretto
http://www.murashev.com/opera/Pagliacci_libretto_English
Recording
https://www.youtube.com/watch?v=mZw62w8fry8
This is one of the cleverest operas I've ever read, in the sense of having a play with in a play. In that regard, it reminds me of A Midsummer night's Dream, but obviously without the lightness and humour. It was actually easy to see things from both the perspective of the audience, who had no idea what was going on until the end, and the actual actors who were well aware and were trying either to escalate the situation or stop it and return to the play. The sad thing, of course, is that there really are sick people out there who would harm and even kill others over cheating. This is definitely realism in a bad sense. But the way that it was written was brilliant.
I have a later version of this, from 1934, with Gigli, but I chose this one because of its historical significance. It was the first recording of this opera, and the first (official) full recording of any opera. Plus, Ruggero Leoncavallo was present, so we can be sure this is how he wanted it to be sung. The first thing I noticed when listening to this was the sound! I have heard many recordings from this time, though this is my first full opera from then. The sound is wonderful, and somehow, they even managed to create a little bass, so that it doesn't sound like everyone is singing into a tin can! I would love to know how they did this! Antonio Paoli (Canio) embodied the sad clown, able to deliver lines that could make a listener feel sorry for him, but his voice was also strong enough to show his anger and eventual break with sanity as well. I haven't heard it called that, but I can't imagine it as anything else. The play was simply too close to his real life and he couldn't separate the two. Plus, he was already furious before going on the stage. Giuseppina Huguet (Nedda) had an interesting feature in her voice. Sometimes, her notes would flow well, but sometimes, they seemed to jump from low to high without smoothness, if that makes sense. But I was impressed with how high she sang. That said, everyone here sang well, to the point that I now have new people to research!
Cavalleria rusticana
Libretto
https://www.murashev.com/opera/Cavalleria_rusticana_libretto_English_Italian
Recording
https://www.youtube.com/watch?v=AWCnVxWTS_4
Unlike the previous work, this one has both English and Italian on the page. However, I was extremely pleased to note that they divided it thoughtfully between the two languages, so I was able to quickly copy and paste the English into another document, so that I could read it without interruption. I can see why this is often paired with Pagliacci. Not only is it also short, but the themes of adultery and murder are strong here as well. As before, both victims are guilty of cheating, though in this case, it's a bit more complicated. Turiddu left Lola to join the army, and she married Alfio while he was gone. Instead of being a mature adult and accepting it, he seduced the innocent Santuzza, then lied to her about Lola and then dropped her as if she were nothing when he got what he wanted. Of course, if he hadn't done these things, we wouldn't have an opera! It took me a moment to understand why Santuzza felt she couldn't enter Lucia's house, the church, etc. Then, I remembered about the rule of Catholics (and probably other Christians) not having sex prior to marriage. The ironic thing is that between her, Alfio, Turridu, and Lola, she was the only truly innocent one! Some might say that she was partly responsible for what Alfio did because she told him about Lola's infidelity, but I don't. She was being honest. He, of his own volition, killed Turiddu. I was actually surprised that he didn't fully lose his mind like Canio, but in this case, it appears it was a duel and he was only truly angry with Turiddu and kept to that code. Turiddu seems to have shown some remorse in the end, asking his mother to take care of Santuzza if he didn't return.
With regard to the audio, the first thing I noticed was what I think anyone would when listening to this version, and it's truly magical. It's a speech by Pietro Mascagni himself, who was not only the composer but also conducted the work on this occasion! The sound quality, naturally, was excellent. Unlike the previous work, I was familiar with several of the singers, except Lina Bruna-Rasa (Santuzza), and Maria Marcucci (lola). The singing itself was excellent. ButI felt as if this opera dragged on. I'm not sure if it was the music or the lack of many good arias (I only really liked two), or both. A lot of it was shouting.
I couldn't help but notice a few similarities between these two works. Both, involve a dultery and men who take things too far by committing murder because of it. Another thing that immediately came to mind was that prior to the murders, both operas involved church. In the one, it seemed to be an ordinary day (probably Sunday) and in the other, it was Easter. I couldn't help but wonder if this was just to set the scene of village life, or if there was more to it, perhaps suggesting thehypocracy of those who would say they are Christian and then cheat and murder people. Maybe, it's just the atheist in me adding that dimension, though. Another thought, of a far more pleasant kind, was how these two composers must have felt, having their own works recorded in front of them and seeing them become so famous. As for me, I definitely prefer earlier works, both musically and in subject, though between the two, I enjoyed Pagliacci more and would gladly listen to the later version, in order to compare the two. Still, Gigli made Rusticana worth it because he was in his element, and sounded wonderful!
Il #Leoncavallo in un post sui #social si è espresso sull'area di via San Dionigi 'individuata dal Comune di Milano': "La proposta è lontana dai desideri di quella parte di città che ha manifestato sabato. Area totalmente dismessa e inagibile fino a bonifica e messa a norma. Un posto malsano, forse avvelenato, sul quale occorrono ulteriori indagini per attestare che non si metta a rischio la salute di chi ci entra".
Anche chi non ha potuto viverlo con i propri occhi può e deve credere ancora nella forza degli spazi sociali. Sono luoghi dove le relazioni umane e umaniste resistono e si rigenerano, dove la comunità continua a lottare per alternative concrete, organizzate e reali. Difendere il #Leoncavallo significa difendere la possibilità di un altro mondo: più giusto, più libero, più nostro.
https://realismocapitalista.substack.com/?utm_campaign=pub&utm_medium=web
Contro i padroni delle città, non solo il 6 settembre… sempre https://zic.it/contro-i-padroni-delle-citta-non-solo-il-6-settembre-sempre/ #Benicomuni,territorieambiente #Redditoelottesociali #centrisociali #leoncavallo #Attualità #Movimenti #sgomberi #Cronaca #leonka #milano #leo
MILANO: CONTRO I PADRONI DELLA CITTÀ 50 MILA PERSONE IN PIAZZA. LE VALUTAZIONI POST CORTEO https://www.radiondadurto.org/2025/09/08/milano-contro-i-padroni-della-citta-50-mila-persone-in-piazza-le-valutazioni-post-corteo/ #manifestazione #Leoncavallo #Movimento #Politica #milano #News
Milano: almeno 50mila persone al corteo per il Leoncavallo e per tutti gli spazi sociali. Riempita piazza Duomo.
Una lunga e densa giornata di mobilitazione nazionale a Milano sabato 6 settembre, con più iniziative di lotta per rilanciare la lotta per gli spazi sociali, l’agibilità politica, il diritto alla città, a una vita degna.
Un misto di rabbia e festa urlato da migliaia di persone che ieri hanno attraversato Milano per difendere spazi sociali e immaginare una città diversa: solidale, pubblica, inclusiva.
Ancora, dopo 50 anni di militanza, il Leoncavallo ha acceso un grido che scuote il cuore della metropoli.
Milano, ottantamila in piazza per il Leoncavallo e il diritto alla città https://www.dinamopress.it/news/contro-la-citta-dei-padroni-milano-in-piazza-per-il-leoncavallo/?utm_source=rss&utm_medium=rss&utm_campaign=contro-la-citta-dei-padroni-milano-in-piazza-per-il-leoncavallo #Approfondimenti #centrisociali #leoncavallo #milano
A #Milano oltre 50 mila persone hanno preso parte al corteo per la difesa degli spazi sociali, dopo lo sgombero del #Leoncavallo il mese scorso. «Occupare non ha mai tolto nulla a nessuno. I soli a rimetterci sono gli speculatori».
https://www.osservatoriorepressione.info/milano-oltre-50mila-persone-al-corteo-per-il-leoncavallo-e-per-tutti-gli-spazi-sociali/
Leoncavallo, il bosco orizzontale di Milano:
https://ilmanifesto.it/leoncavallo-il-bosco-orizzontale-di-milano?t=wTcGL2dnnYamrc7yIzbNd
Ieri in piazza un germoglio di speranza, bisognerà averne cura e farlo crescere.
#SpaziSociali #Leoncavallo #sinistra #Milano
@scuola
@milano
@skariko
@filippodb
@informapirata
@alephoto85
@rivoluzioneurbanamobilita
@lindasartini
Manifestazione a #milano contro la chiusura del #leoncavallo. Eravamo tanti
50k persone (almeno) in piazza a #milano #Leoncavallo
IL LEO SI PRENDE PIAZZA DUOMO
80.000 NELLE STRADE
Basta questa immagine, a corteo non ancora completamente entrato in piazza a testimoniare le reali dimensioni della risposta allo sgombero del Leoncavallo.
Una vera risposta di popolo.
LE TANTE AZIONI DELLO SPEZZONE DEGLI SPAZI SOCIALI NEL GIORNO DEL CORTEO NAZIONALE PER LO SGOMBERO DEL LEO
La mattinata si è aperta con un blitz in via Watteau, sede per 34 anni del Leoncavallo.
Poi, dopo il pre-concentramento in Centrale occupazione della sede del Pirellino, simbolo del cosiddetto Modello Milano finito al centro della cronaca giudiziaria e lancio di torce e fuochi d'artificio contro la Prefettura, sede del governo centrale che tanto ha voluto lo sgombero.
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