Eric Spitznagel, The New York Times, December 22, 2013
“Kindred Spirits: A Juxtaposition of Dante & Dickens”
“. . . I cannot recall a time when I didn’t know the story of A Christmas Carol. The images and themes have delighted or haunted me since my childhood, either in the form of the ‘Dickens Village’ adventure at the mall or the hundredth or so viewing of the Muppet version. (Michael Caine, you will always be my Scrooge.) So when I studied Dante’s Commedia in college, it was no leap for me to recognize the countless similarities between the two stories. I would write C.C. in the margin every time I came across another bit of Dickens in Dante. At long last, I can pitch some these ideas to the wider world.” –Kathyrn (blogger), Through a Glass Brightly, December 18, 2013
Contributed by Patrick Molloy
Kevin Molin, “Inferno Infernale” (2013)
A reading of Canto I of Dante’s Inferno after several translatory metamorphoses via Google Translate: from Italian to Albanian, to Bengali, to Filipino, to Urdu, to Arabic, to Romanian, to Swahili – and the whole way back.
Beginning of transcript:
La nascita del nostro viaggio vita
Ho nero
Vi è una perdita diretta.
Ah, come va intesa
Foreste, terra prima, è difficile
Ho paura che qualcuno potrebbe pensare che!
Questo è un po ‘più dolorosa a causa della morte;
Ma meglio di “Ho visto
Tra le altre cose, ho visto.
“Com’i reddito che non si può ri-
Non mi
Modo corretto.
Ma mentre camminavo la montagna,
Valle Annulla
Ho rotto il mio cuore a temere,
No spalla
“National Self-raggi
Tutto il percorso.
Paura Alituliza
Lake City Center
See Soundcloud for the complete sound file and transcript.
Seamus Heaney
“In ‘Station Island’ (1984) — a dazzling reworking of Dante, set on an Irish island known for centuries as a place of religious pilgrimage — all the themes of Heaney’s work come together in an orchestral whole. Here, the present, past and myth merge and overlap, and the competing claims on an artist emerge in the form of ghosts: literary ghosts, ghosts from the poet’s own past and ghosts from Ireland’s past: a young priest ‘glossy as a blackbird” and a shopkeeper cousin shot in the head, who ‘trembled like a heat wave and faded.’ ” […] –Michiko Kakutani, The New York Times, August 30, 2013
Tchaikovsky’s Francesca da Rimini, San Francisco Ballet (2012-2013)
During their 2012 and 2013 seasons, San Francisco Ballet choreographed a ballet to Tchaikovsky’s Francesca da Rimini, a symphonic poem setting to music the tragic story of the adulterous lover the pilgrim meets in Inferno V. Possokhov’s choreography also incorporates elements from Rodin’s sculptural groups inspired by Dante’s Comedy.
From the program notes: “The story of Francesca da Rimini, immortalized in Dante Alighieri’s epic poem The Divine Comedy, has a long and varied pedigree in the art world. The snippet of history has
made its way from literature to opera to symphonic fantasia to ballet—and now to San Francisco Ballet, in the creative hands of Choreographer in Residence Yuri Possokhov. For someone like Possokhov, with a tendency to lean toward the dramatic, who better than Dante for the story, or Peter Ilyich Tchaikovsky, the composer of so many beloved ballets, for the music? Tchaikovsky’s Francesca da Rimini, a 25-minute symphonic poem, attracted Possokhov years ago. He describes it as the most romantic music in history, with an ending ‘like an apocalypse.'” —SF Ballet
Contributed by Elizabeth Coggeshall
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