Hal

This news seems strange to me, enrybaxx. Kubrick started working on the adaptation of Traumnovelle in the 1960s, at least that's what I had read. So the film in question could be from that period or earlier. However, I have never heard of another film based on Doppio Sogno by Schnitzler. The only film I know and have seen based on Schnitzler is "La Ronde" by Max Ophuls (very beautiful!) which is based on the play Girotondo. Certainly, in some ways it can be related to the themes in Traumnovelle, but it remains quite distant from Eyes Wide Shut. I know there is another film based on a different play, which I cannot recall right now. And I’m not sure, but there might be a film adapted from the novella (very beautiful!) "Gioco all'alba." Other than that, I don’t know of anything else. Anyway, if anyone comes across the title of this other film based on "Doppio Sogno," please let me know, as I'm interested. Bye.

A friend of mine was lucky enough to meet him at one of his concerts. As a folk guitarist, John Renbourn was a legend to him. He asked if it was true that to play the guitar he used pieces of a ping pong ball stuck to his fingers, a kind of multiplettro, and to respond, he reached into his pocket and pulled out a ping pong ball, then started laughing. From the story, he seemed like a nice person as well as a great musician, well honored in this piece.

I’m streaming something from their website, not bad at all, just a shame that it’s only fragments of the songs. They seem to be refined musicians capable of crafting beautiful songs as much as needed. The lyrics then betray important influences, as can be seen from the title of their previous album, which you mentioned. Good tip, thanks. Bye

I believe I've already expressed my thoughts on this album, so I won’t go into detail; rather, I confess that I would have liked to read your opinion on the matter at that time. As for Testa, instead of not knowing how to sell himself, I think he simply doesn't want to sell himself, in the sense that his songs are created first and foremost for the author. They therefore possess a certain (high) dignity regardless of whether someone buys them or listens to them, at least according to the author himself. Focus on the product rather than the market. This makes it clear that in his case, the musical and expressive intentions transcend certain conditions that are so dear to mere music business. And thankfully so. Perhaps many won’t listen to this beautiful work, but those few who appreciate it will be enough. Having said that, I enjoyed reading this piece, although I must admit I found it a bit disorienting regarding the album's content for those who are not familiar with it, of course. As for Faber as a crowd-pleaser, perhaps I didn't understand what kid A wanted to convey, so I await clarification—if he desires—regarding the different responses. Finally, concerning the prestigious wines of Piedmont, this "Cinderella" position in sales from this very important region sounds a bit strange to me; I might check the data on large consumption again. Prosit.

Being Anime Salve a work whose authorship belongs equally to Faber and Fossati, it is quite clear that the imprint of the latter – regardless of the arrangements – is present, albeit not uniformly, in this album. For me, this happens especially in some tracks, such as the eponymous "Anime salve," which, whether De Gregori appreciates it or not, falls within the realm of personal opinions, respectable yet debatable. On the other hand, Faber's contribution to this work is equally evident, which I believe ultimately "absorbs" (the quotation marks are mandatory) that of Fossati. And, in my opinion, it was precisely that "absorbing" ability that made it challenging and problematic to work with De André, whose personality always managed to stand out, even within the context of a collective work—a method that Faber often pursued throughout his career. Consider that when De Gregori recorded "Canzone per l'estate" in "Amore del pomeriggio," he stated that he felt it was more his own this way (he indeed said referring to De André: "I included our song on this album not to pay homage to him, he doesn’t need it, and I don’t know if he’d like it. It’s just a good song that today, after all these years, I feel a bit more mine"). That said, I also wanted to mention that I don't share part of your judgment, dear Primiballi. I don't deny the importance and your interest in Fossati, with associated evaluations, of course, but I don't agree with the statement that people like Faber and Conte had already said and given their best before '86. This sort of metaphorical temporal Rubicon, behind which the true greatness of Conte and Faber should be found, is a stretch for me, if not a simplification, also because it tends to read their biographies in a too linear manner. Faber's path after 1986 would have seen various and significant changes, allowing the emergence of albums (and tours) like "Le Nuvole" and "Anime Salve," the latter of which you define as "the best album of Italian singer-songwriter music." How it is possible, without falling into contradiction, that the best album in Italian singer-songwriter music is post-1986, when it was prior to that date that Faber had given his best, I really can’t explain. As for Conte, we have already discussed it on other occasions, and I’ve noticed that our opinions are not entirely aligned. I, for example, think that "Una faccia in prestito" (post-1986), also for the ideas that structure the lyrics, is one of his most beautiful and underrated works, and even his last album stands up well in comparison to his renowned past. Certain dimensions have changed, many musicians, it's true, but the poetry remains intact and fascinating, even wrapped in that gray and melancholic veil of the years that have passed. Haloha

that the supposed dualism that Brahms placed in the "conservatories" was a resounding ... nonsense. Time returns a lot. It’s been a while since I last listened to it, Grasshopper, yet it’s a great work well described by this review. But in fact, the reason is that I prefer other works by Dvorak, such as the cello concerto. Now I’m going to listen to it ... Bye :)

They killed Mario on his bicycle one evening when the sky was orange. He was heading to Lina, who was waiting for him, and found a guy at the door. It was the police chief who had sworn revenge on him; because of him, he didn't get the promotion. He had been stalking his girlfriend and caught him at the meeting.

I am the one who seeks this type of music.

Yes, it was already there, but indeed this listening to this album fits perfectly.

I caught a glimpse of it in my favorite little shop, but it didn't convince me, so I left it on the shelf. Maybe I'll swing by after another fleeting listen.