The high Art of low Voices. The chapter I. Maria Gulik

У вас есть шанс подсмотреть за работой музыкантов: приготовления к концерту в пятницу, в котором Мария Гулик и Аршак Кузикян под аккомпонимент Алексея Демченко будут исполнять и редкие, и очень знаменитые произведения русской и европейской классической музыки. В программе ARCC “The high Art of low Voices”: Моцарт, Верди, Бизе, Муссоргский, Чайковский, Рахманинов и Щедрин.
Концерт состоится 27 октября 2017 в 19:45, в St. James’s Sussex Gardens.

You have a chance to peek at the rehearsal: Maria Gulik, accompanied by Alexei Demchenko, is preparing for the concert on Friday, sponsored by ARCC, where she and Arshak Kuzikyanis will be performing wonderful pieces, some of which are rare, the others are well known, by Mozart, Verdi, Bizet, Mussorgsky, Tchaikovsky, Rachmaninov and Shchedrin in the programme “The high Art of low Voices”.
The concert will take place on 27 October at 7:45 pm at St. James’s Sussex Gardens.

Фильм: Саша Михайлова!

Filmed by Sasha Mihailova.

 

Don’t miss the presentation of the Fiona Sampson’s new book “Limestone Country”!

On 19 October. Sands Film Studio. 19-30

Prize-winning poet and writer Fiona Sampson asks whether we ignore the influence of ecology and even geology on the ways we chose to live. Do we miss something that is both politically important and intimately concerned with our quality of life? And what do we learn by comparing experiences across cultures?

Russian music in Brunel Shaft

ARCC Anglo Russian culture club starts a series of four concerts in the most unusual place in London, here:

http://www.brunel-museum.org.uk

The first concert comes very soon:

Thursday 2 March 7:30 pm

Maria Gulik, mezzo, and Victor Maslov, pianist

Concert program:

Victor Maslov: Rachmaninov. 8 Etudes-Tableaux, Opus33

Maria Gulik and Victor Maslov:

Mussorgsky The Songs and Dances of Death

Mussorgsky Arias from Khovanshina, arranged by Shostakovich

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Here was Rome

Рим золотой,
обитель богов,
меж градами первый


Victor Sonkin, the author of this prize-winning guidebook to Ancient Rome, will talk about the everyday details of ancient Roman life, concentrating on (sometimes deceptively) simple questions of what the ancient Romans ate and drank for supper and how they calculated time. An authority on this culture, with public appearances from education, to television, and ship cruises, he makes the layers and quirks of history amusing, as much as his treatment is informative and in-depth.

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Literary translation during the Soviet and Post Soviet period

£7 / £5 conc. – book at Pushkin House

  • It is a truth universally acknowledged that Soviet literary translators were the best in the world (as well as cosmonauts and ballet dancers).
  • What happened to them after the Perestroika?
  • Does a new era require new translation principles?
  • And where does this leave the reader?

Most fiction published in English is originally written in English. In many countries, including Russia, the situation is almost reversed, and translated fiction dominates the market. Borisenko and Sonkin will talk about Soviet-era translation and its influence, the great changes inpost-Soviet times, and the challenges that Russian literary translators encounter today.

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Comissar

Russia, 1967 – released 1988
Russian w/ English subtitles  >> play the trailer

A work of considerable artistic merit, Aleksandr Askoldov’s Commissar (Комиссар) is nonetheless most famous on other than artistic grounds. Based on the story “In the Town of Berdichev” by Ukrainian Jewish author Vasili Grossman, it is writer-director Askoldov’s only film.

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Resurrecting the Revolution

 Boris Dralyuk

will speak about his experiences compiling the anthology 1917: Stories and Poems from the Russian Revolution (Pushkin Press, 2016) and translating Isaac Babel’s Red Cavalry (Pushkin Press, 2014) and Odessa Stories (Pushkin Press, 2016) and read stories from Red Cavalry.

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Shostakovich – From Jewish Folk Poetry

View the
music recording
and our
introduction here.

After his fearsome 1948 condemnation at the hands of the Union of Composers and Stalin’s ‘cultural’ henchman Andrey Zhdanov, Shostakovich was understandably careful about what he composed next and what he revealed in public. His position was undoubtedly dangerous. In the autumn of the same year he compiled a strikingly unusual  song-cycle for three singers and piano: the texts were taken from a collection of Russian translations of Jewish lyrics, mostly originally in Yiddish but one or two Hebrew or Russian; the melodies he created were original but closely related to the style of ‘klezmer’ music which Shostakovich knew and loved. The ensemble of three singers gives almost the feeling of a chamber opera.

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