Audi contro una moto, lo schianto choc: morto un uomo vicino Roma Foto

Audi contro una moto, lo schianto choc: morto un uomo vicino Roma Foto

di Simone Pieri­ni

Inci­dente mor­tale oggi alle 13,15 in via delle For­naci, una tra­ver­sa del­la Salaria in zona Mon­tero­ton­do. Lo schi­anto choc è avvenu­to tra un’Audi gri­gia e un moto­ci­clista di 52 anni che, dopo ess­er sta­to sbalza­to, è mor­to sul colpo per le ferite ripor­tate.

Imme­di­a­to l’intervento degli agen­ti del­la polizia locale cap­i­ta­nati dal Coman­dante Michele Laman­na. Giun­ti sul pos­to, han­no potu­to sola­mente con­statare il deces­so del cen­tau­ro, padre di due figlie. Da sta­bilire anco­ra la dinam­i­ca dell’incidente.

https://www.leggo.it/italia/cronache/audi_contro_moto_schianto_choc_morto_monterotondo_21_giugno_2018-3810571.html

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L’ambulanza è bloccata dalle auto parcheggiate: muore un uomo

Dove­va soc­cor­rerlo tem­pes­ti­va­mente e sal­var­gli la vita, ma l’ambulanza chia­ma­ta per rag­giun­gere un uomo di 60 anni vit­ti­ma di un mal­ore è sta­ta bloc­ca­ta in stra­da, osta­co­la­ta dalle tante auto in sos­ta. È accadu­to ieri sera a Castel­let­to, quartiere di Gen­o­va a ris­chio per episo­di sim­ili.

I veicoli mal parcheg­giati han­no ral­len­ta­to i soc­cor­si e quan­do il per­son­ale medico è arriva­to a casa dell’uomo era ormai trop­po tar­di. Con una det­tagli­a­ta seg­nalazione alla procu­ra del­la repub­bli­ca è sta­to aper­to un fas­ci­co­lo di indagine per accertare se il posteg­gio sel­vag­gio (anche dell’auto del dece­du­to) e il traf­fi­co abbiano con­tribuito al deces­so del ses­san­tenne.

Nep­pure il car­ro attrezzi è rius­ci­to a inter­venire a causa del­la stra­da stret­ta e del­la man­can­za di spazio per la manovra. Nelle scorse set­ti­mane il Comune ave­va annun­ci­a­to “toller­an­za zero” nei con­fron­ti degli autori dei parcheg­gi irre­go­lari nelle zone.

https://www.leggo.it/italia/cronache/genova_ambulanza_bloccata_auto_sosta_uomo_morto_21_giugno_2018-3810551.html

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Esce di casa con l’auto e scompare: trovata morta sugli scogli del porto

Esce di casa con l'auto e scompare: trovata morta sugli scogli del porto

SENIGALLIA – Era scom­parsa di casa, don­na trova­ta mor­ta sulle scogliere del molo di lev­ante di Seni­gal­lia nelle Marche.
L’allarme era par­ti­to dal mar­i­to del­la 75enne che ne ave­va denun­ci­a­to la scom­parsa dopo che la don­na si era allon­tana­ta con la sua auto sen­za rien­trare. Quan­do il mez­zo è sta­to trova­to al por­to dai cara­binieri, la Cap­i­tane­r­ia è sta­ta coin­vol­ta nelle ricerche e il copro del­la 75enne è sta­to trova­to sulle scogliere. Il pm Mar­i­an­gela Far­neti coor­di­na le indagi­ni, ma al momen­to la tesi prinicipe è che si sia trat­ta­to di un gesto volon­tario.

https://www.leggo.it/italia/cronache/senigallia_donna_scompare_casa_trovata_morta_scogli_porto_21_giugno_2018-3810444.html

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Operaio schiacciato da lastra di cemento in cantiere: muore a 42 anni

VERONA — Grave inci­dente sul lavoro è avvenu­to oggi dopo mez­zo­giorno in via Val­pan­te­na 8 a Verona, nei pres­si del vivaio Verde Valle.  Per cause in via di accer­ta­men­to un operaio veronese 42enne, res­i­dente a Vil­lafran­ca di Verona, è rimas­to schi­ac­cia­to sot­to una pesante las­tra di cemen­to all’interno del cantiere dei lavori per l’ampliamento del­la tan­gen­ziale est.

Avvisati dal Suem118, i pom­pieri sono accor­si con due squadre, tra cui un’autogru, per sal­vare l’operaio. Nel frat­tem­po l’uomo è sta­to soc­cor­so dai col­leghi, che lo han­no estrat­to e affida­to alle cure del per­son­ale san­i­tario, pre­sente con eliambu­lan­za, che purtrop­po ne ha dovu­to con­statare il deces­so.

https://www.leggo.it/italia/cronache/operaio_verona_incidente_morto_schiacciato_21_giugno_2018-3810430.html

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Painter Barkley L. Hendricks Dies at 72

The artist, best known for his bold por­traits of Black peo­ple, passed away ear­ly this morn­ing.

Barkley L. Hen­dricks, “Slick (Self-Por­trait)” (1977), oil, acrylic, and magna on linen can­vas, 72 x 48 in (© Barkley L. Hen­dricks, cour­tesy of the artist and Jack Shain­man Gallery, New York)

Barkley L. Hen­dricks, a tow­er­ing artist best known for his cel­e­bra­to­ry, uncom­pro­mis­ing oil por­traits of Black peo­ple from urban places, passed away ear­ly this morn­ing. His death was sud­den but due to nat­ur­al caus­es. He was 72 years old.

Barkley L. Hen­dricks, “Sweet Thang (Lynn Jenk­ins)” (1975–76), oil on linen, 52 x 52 in (© Barkley L. Hen­dricks, cour­tesy of the artist and Jack Shain­man Gallery, New York)

Born in Philadel­phia in 1945, Hen­dricks received a cer­tifi­cate from the Penn­syl­va­nia Acad­e­my of Fine Arts and a BFA and MFA from Yale Uni­ver­si­ty. He stud­ied pho­tog­ra­phy before delv­ing into paint­ing — in a recent Tate video, he called his cam­era “my mechan­i­cal sketch­book” — and over the course of his decades-long career worked in fash­ion as well. The last is what often drew him to his sub­jects, whose clothes are typ­i­cal­ly as evoca­tive as their expres­sions and pos­es. Hen­dricks began paint­ing por­traits of every­day peo­ple — friends, acquain­tances, and indi­vid­u­als he met on the street — in the 1960s and ’70s, earn­ing acclaim for a style that was both nuanced and unboth­ered. Many of his sub­jects face the view­er head on, and Hen­dricks was an expert in ren­der­ing the full­ness of their human com­plex­i­ty.

Hen­dricks spent a large part of his life in cities in the north­east­ern US, and many of his sub­jects were peo­ple of col­or resid­ing in those areas. The artist repeat­ed­ly said that he did not see the deci­sion to paint full-size, scrupu­lous por­traits of Black peo­ple as polit­i­cal — even in the face of a show at Jack Shain­man Gallery last year that includ­ed an image of a young Black man with his hands up, posed against the back­drop of a Con­fed­er­ate flag and in the crosshairs of a gun. “Well, I paint and make art because I like doing it; that’s always the moti­vat­ing fac­tor,” he told Hyper­al­ler­gic on the occa­sion of that exhi­bi­tion. “The sub­ject mat­ter I’m involved with, though, has always been seen as sus­pect, giv­en the screwed-up cul­ture we live in. I’m not sure how you are with oth­er artists, but gen­er­al­ly, how many white artists get asked about how their white­ness plays into their work? I didn’t [start to] paint or take pho­tographs because I was Black.”

Barkley Hendricks, "In the Crosshairs of the States" (2016), oil and acrylic on canvas, 35 1/2 in diameter
Barkley Hen­dricks, “In the Crosshairs of the States” (2016), oil and acrylic on can­vas, 35 1/2 in diam­e­ter (© Barkley L. Hen­dricks, cour­tesy of the artist and Jack Shain­man Gallery, New York)

Regard­less of his protes­ta­tions, the art world wel­comed Hendricks’s work as a polit­i­cal state­ment; Black cura­tors and younger Black artists espe­cial­ly saw it as foun­da­tion­al. Thel­ma Gold­en includ­ed Hen­dricks in the land­mark Black Male exhi­bi­tion that she curat­ed at the Whit­ney Muse­um in 1994, and the text for his first ret­ro­spec­tive, orga­nized by Trevor Schoon­mak­er at the Nash­er Muse­um of Art in 2008, notes that “Hendricks’s artis­tic priv­i­leg­ing of a cul­tur­al­ly com­plex black body has paved the way for today’s younger gen­er­a­tion of artists.”

Over the past 17 years Barkley and I have worked close­ly togeth­er on numer­ous exhi­bi­tions, talks and projects, but it is his deep friend­ship that I will miss the most,” Schoon­mak­er said in a state­ment shared with Hyper­al­ler­gic. “To be blunt, he changed the course of my life. With so many artists and writ­ers now respond­ing to his paint­ings and pho­tog­ra­phy, Barkley stands out as an artist well ahead of his time. Though his work has defied easy cat­e­go­riza­tion and his rugged indi­vid­u­al­ism kept him out­side of the spot­light for too many years, his unre­lent­ing ded­i­ca­tion to his pio­neer­ing vision has deeply inspired younger gen­er­a­tions. … Today Barkley’s exten­sive body of work is as vital and vibrant as ever, and the full impact of his art and teach­ing is only begin­ning to unfold.”

In addi­tion to mak­ing his own work, Hen­dricks served as a pro­fes­sor of stu­dio art at Con­necti­cut Col­lege from 1972 to 2010.

Barkley L. Hen­dricks, “Lawdy Mama” (1969), oil and gold leaf on can­vas, 53 3/4 x 36 1/4 in (© Barkley L. Hen­dricks, cour­tesy of the artist and Jack Shain­man Gallery, New York)

We have had the great hon­or of work­ing with Barkley since 2005,” said Hendricks’s deal­er, Jack Shain­man, in a state­ment. “He was a sit­u­a­tion­al painter, doc­u­ment­ing the world around him in vivid and high­ly detailed paint­ings that cap­ture the dis­tinc­tive per­son­al­i­ties of his sub­jects. He was a true artist’s artist, always ded­i­cat­ed to his sin­gu­lar vision; he was a fig­u­ra­tive painter when it was trendy and espe­cial­ly when it wasn’t.

Barkley’s ground­break­ing oeu­vre rep­re­sents every­day peo­ple, shin­ing a light on sub­jects who weren’t typ­i­cal­ly depict­ed in life-sized oil paint­ings. His work paved the way for a new gen­er­a­tion of fig­u­ra­tive painters, and his absence in the art world will sure­ly be felt. The gallery will con­tin­ue to rep­re­sent Barkley’s out­stand­ing lega­cy through ongo­ing advo­ca­cy of his tremen­dous body of work.”

Barkley L. Hen­dricks, “Pho­to Bloke” (2016), oil and acrylic on linen, 72 x 48 in (© Barkley L. Hen­dricks, cour­tesy of the artist and Jack Shain­man Gallery, New York)

Hen­dricks, who is sur­vived by his wife, Susan, of 34 years, reflect­ed on his lega­cy in the Tate video shot last year: “I’ve been paint­ing for 40 years. … I get all kinds of dif­fer­ent thoughts about what my painting’s about, and many of them don’t relate to the areas of inspi­ra­tion. There should be a degree of mys­tery — what can I tell you? You know enough. I want it to be what I call mem­o­rable. I don’t want it to go poof.”

Painter Barkley L. Hen­dricks Dies at 72

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Bill Mitchell obituary

Pio­neer of land­scape the­atre who cre­at­ed The Pas­sion, star­ring Michael Sheen, which was per­formed on the streets of Port Tal­bot

@lyngardner

Bill Mitchell and Wild­works, which he found­ed in 2005, nev­er para­chut­ed into an area but embed­ded them­selves with­in com­mu­ni­ties. Pho­to­graph: Steve Tanner/Wildworks

The design­er and the­atre-mak­er Bill Mitchell, who has died of can­cer aged 65, was a pio­neer of land­scape the­atre in the UK, at first with Knee­high, and then with his own influ­en­tial com­pa­ny, Wild­works. More than 6ft tall, with a gold tooth and a beam­ing smile that made him look like a friend­ly pirate, Mitchell brought a visu­al artist’s sen­si­bil­i­ty to the­atre as well as a free-spir­it­ed gen­eros­i­ty and a belief that the­atre was at its most rad­i­cal and potent when it sprang from place, space and com­mu­ni­ty.

His Hell’s Mouth, a ver­sion of Antigone cre­at­ed in Hen­dra chi­na clay pits near St Austell, Corn­wall, for Knee­high in 2000 was typ­i­cal of Mitchell’s work, full of panache and vision and fea­tur­ing a cho­rus of local leather-clad bik­ers. For Mitchell, site and sto­ry were cen­tral to all the shows he cre­at­ed and were always deeply entwined.

Mitchell and Wild­works, which he found­ed in 2005, nev­er para­chut­ed into an area but embed­ded them­selves with­in com­mu­ni­ties, not just in Britain but in Pales­tine, Cyprus and all over main­land Europe. Mitchell and his team cre­at­ed a string of mem­o­rable shows includ­ing A Very Old Man With Enor­mous Wings (a co-pro­duc­tion with Knee­high based on a sto­ry by Gabriel Gar­cía Márquez), a haunt­ed ver­sion of the Orpheus and Eury­dice myth called Souter­rain, ini­tial­ly cre­at­ed in 2006 in a steadi­ly depop­u­lat­ing vil­lage in Stan­mer Park near Brighton, and – in a co-pro­duc­tion with Nation­al The­atre Wales – the spine-tin­gling The Pas­sion, a con­tem­po­rary, sec­u­lar ver­sion of the East­er sto­ry.

Michael Sheen in The Pas­sion, 2011. Pho­to­graph: WildWorks/Ian Kingsnorth

A 72-hour event unfold­ing in real time over East­er week­end in 2011, and star­ring the local hero Michael Sheen, The Pas­sion was made with and for the peo­ple of Port Tal­bot. The Last Sup­per took place in the local social club with inter­ven­tions from the Man­ic Street Preach­ers, the Gar­den of Geth­se­mane was an earth-filled skip on a hous­ing estate, while angels ped­alled on fiery bicy­cles and the sea become a mas­sive bap­tismal font. It was, and is like­ly to remain, one of the great the­atre events of this cen­tu­ry.

Born in Erith, Kent, to John Mitchell, an engi­neer, and his wife, Ethel (nee Kemp), a clean­er, Bill was edu­cat­ed at Dart­ford gram­mar school, where he showed ear­ly promise at art. He took a foun­da­tion course at Med­way School of Art and went on to the the­atre design course at Wim­ble­don School of Art, Lon­don. The visu­al was always a sig­nif­i­cant part of Mitchell’s prac­tice both as a direc­tor and design­er, and he designed some of Kneehigh’s great­est shows, includ­ing Tris­tan and Yseult direct­ed by Emma Rice, The Red Shoes and A Mat­ter of Life and Death.

Mitchell’s ear­ly career was in the the­atre in edu­ca­tion move­ment of the 1970s includ­ing at the social­ist col­lec­tive Key Per­spec­tives, where in 1976 he first met his part­ner, Sue Hill, and then at The­atre Cen­tre in the 80s. In 1988 he and Sue moved to Corn­wall, devel­op­ing an endur­ing rela­tion­ship with Knee­high, for whom he direct­ed indoor shows such as Nick Darke’s Ting Tang Mine, while also increas­ing­ly tak­ing the com­pa­ny out­side to cre­ate large-scale pieces of walk­ing the­atre that used land­scape not just as a back­drop but as an inte­gral part of the sto­ry­telling.

100: The Day Our World Changed, 2014, which told of Cornwall’s expe­ri­ences of the first world war. Pho­to­graph: Steve Tan­ner

Land­scape – rather incon­ve­nient­ly from the point of view of some artists, but nev­er Mitchell – always comes with res­i­dent com­mu­ni­ties attached. But it was these com­mu­ni­ties and their sto­ries that fas­ci­nat­ed Mitchell, and because the sto­ries were exca­vat­ed with love and treat­ed with care they gave his pro­duc­tions real emo­tion­al charge.

In shows such as The Pas­sion, the sto­ries of ordi­nary peo­ple were ele­vat­ed to the sta­tus of epic myth. The Beau­ti­ful Jour­ney (2009) drew on the mem­o­ries of local peo­ple to explore the lega­cies of ship­build­ing in Ply­mouth and New­cas­tle. In the process of mak­ing the shows Mitchell was always exam­in­ing ques­tions around who can make the­atre, how it might be made and where it can hap­pen.

A great col­lab­o­ra­tor, Mitchell often described him­self as “a col­lag­ist”, work­ing through visu­al images and craft­ing each show like a film edi­tor. To out­siders, the process could look like chaos: it was cer­tain­ly always risky, and on occa­sion, as with Babel in Cale­don­ian Park in Lon­don in 2012, it did not come togeth­er. But most­ly the process deliv­ered sub­lime results, includ­ing shows such as Wolf’s Child, which pre­miered at the Nor­folk and Nor­wich fes­ti­val in 2015 and offered a beguil­ing, mys­te­ri­ous and mag­i­cal med­i­ta­tion on fer­al chil­dren and what it real­ly means to be wild.

The Pas­sion of Port Tal­bot: BBC Wales doc­u­men­tary

Mitchell was often most at home when he was work­ing out­side, but his abil­i­ty to trans­form any envi­ron­ment and find its res­o­nances and ghosts was demon­strat­ed in 2010’s Enchant­ed Palace, which trans­formed Kens­ing­ton Palace into a creepy fairy­tale land­scape, one with a strong sense of the uncan­ny.

Despite being diag­nosed with can­cer in 2015, Mitchell con­tin­ued to work up to his death, and a new ver­sion of Wolf’s Child will be per­formed in the woods at Trelowar­ren Estate in Corn­wall in July. But it was part of his gen­er­ous nature, and his endur­ing belief that the­atre is a com­mu­nal and col­lab­o­ra­tive act, that he spent his final weeks look­ing to Wildwork’s future and ensur­ing that the work he pio­neered will con­tin­ue.

He is sur­vived by Sue, Ethel and his broth­er, Robert.

William John Mitchell, the­atre direc­tor and design­er, born 2 Decem­ber 1951; died 14 April 2017

https://www.theguardian.com/stage/2017/apr/18/bill-mitchell-obituary

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Obituary: Sean Scanlan

Sean Scan­lan. Pho­to: Bob Raf­fer­ty

by Michael Quinn

A stal­wart of Scot­tish the­atre, Sean Scan­lan found fame on tele­vi­sion as Shug, the affect­ed Anglo­cen­tric uncle to Gre­gor Fisher’s Glaswe­gian grotesque Rab C Nes­bitt, and fer­ry­man Gor­don in the fam­i­ly dra­ma Two Thou­sand Acres of Sky.

Born in Glas­gow, he was edu­cat­ed at the inde­pen­dent St Aloy­sius’ Col­lege before being expelled for flout­ing the uni­form code. Resist­ing expec­ta­tions to fol­low his broth­er into law, he joined the city’s New Vic­to­ry Play­ers Dra­mat­ic Club, where he found his voca­tion.

In 1971, he moved to Lon­don to train at the Dra­ma Cen­tre, grad­u­at­ing with the Gold Medal. On return­ing home, he joined the Roy­al Lyceum The­atre, Edinburgh’s youth com­pa­ny, appear­ing in Ray Herman’s They Shoot Hors­es, Don’t They? in 1975. He attract­ed atten­tion as the demon­ic Mar­tin in Den­nis Potter’s Brim­stone and Trea­cle at the Cru­cible The­atre, Sheffield, and in David Lan’s The Win­ter Dancers at the Roy­al Court The­atre in 1977, return­ing there the fol­low­ing year in Ron Hutchinson’s Says I, Says He and Lenka Janiurek’s In the Blood, and again in 1979 for Liane Aukin’s On Top.

A sea­son with the Bris­tol Old Vic saw him appear­ing in Ten­nessee Williams’ The Glass Menagerie, Tim­on of Athens and Guys and Dolls. Dur­ing the 1980s, he tra­versed the coun­try, notably work­ing with the Tron The­atre, Glas­gow, Scot­tish tour­ing com­pa­ny Bor­der­line, and at the Hay­mar­ket The­atre, Leices­ter, where he played a lovelorn alco­holic copy­writer in the pre­miere of Mike Hodges’ first play, Soft Shoe Shuf­fle (1985) and Judge Brack in Ibsen’s Hed­da Gabler (1987).

At the Don­mar Ware­house in 1993, he played the psy­chopath Arbo­gast in Simon Donald’s The Life of Stuff and in the new­ly reopened Mer­maid The­atre the puri­tan agi­ta­tor John Knox in Robert Bolt’s Vivat! Vivat Regi­na! in 1995. Back in Scot­land, he toured Dan­ny Boyle’s Love, Lies, Bleed­ing (1998) and Conor McPherson’s The Weir (1999), and was the tit­u­lar astral adven­tur­er in David Greig’s The Cosmonaut’s Last Mes­sage to the Woman He Once Loved in the For­mer Sovi­et Union at the Tron The­atre (1999).

With the Roy­al Shake­speare Com­pa­ny in 2000, he was seen in Greig’s Vic­to­ria and was a strik­ing Archie Rice in John Osborne’s The Enter­tain­er at the Glas­gow Cit­i­zens in 2003.

Lat­er stage roles includ­ed the cuck­old­ed Chrysalde in Liz Lochhead ’s rework­ing of Moliere, Edu­cat­ing Agnes (Glas­gow Cit­i­zens, 2008), dither­ing lec­tur­er Ike in Ella Hickson’s The Autho­rised Kate Bane (Tra­verse The­atre, 2012) and the back­room polit­i­cal schemer Her­bert Wehn­er in a 2016 Scot­tish tour of Michael Frayn’s Democ­ra­cy.

Hav­ing made his tele­vi­sion debut in 1976, he went on to appear in 60 shows, includ­ing the peri­od dra­ma Air­line (1982), Alan Plater’s The Bei­der­becke Con­nec­tion (1988) and The Tales of Para Handy (1994–95). More recent appear­ances includ­ed Katie Mor­ag (2014–15) and the 2016 film Whisky Galore.

Sean Scan­lan was born on August 18, 1948, and died on April 17, aged 68. He is sur­vived by his wife, the actor Bar­bara Raf­fer­ty.

https://www.thestage.co.uk/features/obituaries/2017/obituary-sean-scanlan/

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Manfred Jung

Man­fred Jung (9 July 1940 – 14 April 2017) was a Ger­man oper­at­ic tenor, who per­formed Wagner’s helden­tenor roles inter­na­tion­al­ly, includ­ing the Met­ro­pol­i­tan Opera and the Bayreuth Fes­ti­val where he was Siegfried in the Jahrhun­der­tring, but he also sang all oth­er tenor roles in Der Ring des Nibelun­gen.

Man­fred Jung

Gwyneth Chéreau (großer).jpg

Jung as Siegfried in the Jahrhundertring, with Gwyneth Jones, filmed in 1980
Born 9 July 1940
Oberhausen, Germany
Died 14 April 2017 (aged 76)
Essen, Germany
Education Folkwangschule
Occupation Operatic tenor
Organization
Awards Grammy Award for Best Opera Recording (1982)
Website www.jung-manfred.de/opernsaenger/saenger

Biography

Born in Ober­hausen, Jung worked as a light­ing tech­ni­cian at the Gril­lo-The­ater in Essen. He stud­ied voice at the Folk­wang-Hochschule with Hilde Wes­sel­mann, com­plet­ing the Staat­sex­a­m­en in 1968. He was engaged at the Kam­merop­er (Cham­ber Opera) in Cologne, from 1971 to 1975 at the Opern­haus Dort­mund, where he appeared in 27 lyri­cal tenor roles, includ­ing lead­ing roles such as Tamino in Mozart’s Die Zauber­flöte and Hans in Smetana’s Die verkaufte Braut. He then moved to the Pfalzthe­ater in Kaiser­slautern, where he per­formed more dra­mat­ic roles such as Max in Weber’s Der Freis­chütz and Don José in Bizet’s Car­men.

He made his debut in Bayreuth in 1967 at the Bayreuther Jugend­fest­spiele as Arindal in Wagner’s Die Feen, and sang in the fes­ti­val choir there from 1970 to 1973. In 1975, he appeared as a guest at the Salzburg East­er Fes­ti­val with Her­bert von Kara­jan. He sang as a guest at the Deutsche Oper am Rhein in 1976 and was engaged until 1988. When he appeared as a guest in Berlin in Novem­ber 1976, he was rec­om­mend­ed to the Bayreuth Fes­ti­val, and appeared there as Siegfried in Göt­ter­däm­merung from 1977, in the Jahrhun­der­tring staged by Patrice Chéreau for the cen­te­nary of the fes­ti­val and the stage work, along­side Gwyneth Jones as Brünnhilde, and con­duct­ed by Pierre Boulez. He sang in Bayreuth sev­er­al helden­tenor roles, includ­ing three dif­fer­ent cycles of The Ring.

He appeared inter­na­tion­al­ly, such as 1980 in New York’s Carnegie Hall, in 1981 at the Vien­na State Opera and the Met­ro­pol­i­tan Opera in New York. Jung and the rest of the cast received the Gram­my Award for Best Opera Record­ing for their record­ing of the Jahrhun­der­tring con­duct­ed by Pierre Boulez, as Siegfried in both Siegfried and Göt­ter­däm­merung at the 25th Annu­al Gram­my Awards.] He was one of few singers who per­formed all tenor parts in Der Ring des Nibelun­gen.

Jung was from c. 2005 the artis­tic direc­tor of the Junge Musik­er-Stiftung, a Bayreuth foun­da­tion run­ning the singing com­pe­ti­tion Can­tile­na Gesangswet­tbe­werb for young singers in the cat­e­gories opera, con­cert and operetta. He died in Essen.

Bibliography

  • Ulrike Gon­do­rf: Erleben ist wichtiger als Sin­gen. Der Wag­n­er-Tenor Man­fred Jung; in: fer­mate. Rheinis­ches Musik­magazin, 2/1983, Ver­lag Dohr, 1983

References

 

 

  1. Salazar, David (19 April 2017). “Obit­u­ary: Remem­ber­ing Wag­n­er Expert Man­fred Jung”. operawire.com (in Ger­man). Retrieved 21 Novem­ber 2017.

External links

https://en.wikipedia.org/wiki/Manfred_Jung

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Trish Vradenburg, Sitcom Writer and Advocate in Fight Against Alzheimer’s, Dies at 70

4/18/2017 by Mike Barnes

Cour­tesy of the Vraden­burg fam­i­ly
Trish Vraden­burg and her hus­band George

She worked on ‘Designing Women,’ ‘Family Ties’ and ‘Kate & Allie.’

Trish Vraden­burg, a play­wright and sit­com writer who worked on Design­ing Women, Fam­i­ly Ties and Kate & Allie and became a lead­ing advo­cate in the fight against Alzheimer’s dis­ease, has died. She was 70.

Vraden­burg died Mon­day of a heart attack at her home in Wash­ing­ton, her pub­li­cist announced.

A native of Newark, N.J., Vraden­burg, the daugh­ter of a judge, grad­u­at­ed from Boston Uni­ver­si­ty and began her career as a speech­writer for New Jer­sey Sen. Har­ri­son Williams.

Start­ing in 1985, she wrote for the CBS sit­coms Kate & Allie, star­ring Susan Saint James and Jane Curtin, Everything’s Rel­a­tive, star­ring Jason Alexan­der, and Lin­da Bloodworth-Thomason’s Design­ing Women, and then did an install­ment of NBC’s Michael J. Fox star­rer Fam­i­ly Ties in 1988.

Vraden­burg wrote a 1986 nov­el, Lib­er­at­ed Lady, and her byline appeared in such pub­li­ca­tions as the New York Dai­ly News, Boston Globe, The Wash­ing­ton Post, Ladies’ Home Jour­nal and Women’s Day.

In 2010, she and her hus­band — for­mer Fox, CBS, AOL and AOL Time Warn­er attor­ney George Vraden­burg — found­ed the orga­ni­za­tion UsAgainstAlzheimer’s, ded­i­cat­ed to find­ing a cure by 2020.

Her moth­er, Bea Lern­er, lived with the dis­ease. She described her as a “pow­er­ful, dynam­ic woman — invit­ed per­son­al­ly to JFK’s inau­gur­al as a thank you for hand­ing him New Jer­sey — who had sud­den­ly become a con­fused, help­less per­son.”

She wrote about her expe­ri­ences car­ing for her moth­er in the play Sur­viv­ing Grace, which was pro­duced at the Kennedy Cen­ter, the Union Square The­atre in New York (where Illeana Dou­glas starred) and through­out the U.S. and oth­er coun­tries.

As she said in an UsAgainstAlzheimer’s blog post: “A cure for Alzheimer’s: a fan­ta­sy, a wish, an impos­si­ble dream; the same words that were said to Galileo, Edi­son, Curie, Salk and who­ev­er dreamed up the Inter­net. Yesterday’s dream is today’s real­i­ty.”

In addi­tion to her hus­band, sur­vivors include her daugh­ter Alis­sa and son-in-law Michael; son Tyler and daugh­ter-in-law Jean­nine; grand­chil­dren Har­ri­son, Skyler, May and Gavin; and broth­er Michael and sis­ter-in-law Cat.

A pri­vate fam­i­ly ser­vice will take place this week in Los Ange­les, fol­lowed by a pub­lic memo­r­i­al in Wash­ing­ton on May 9. Dona­tions can be made to the Bea Lern­er Fund of UsAgainstAlzheimer’s Net­work.

https://www.hollywoodreporter.com/news/trish-vradenburg-dead-sitcom-writer-advocate-fight-alzheimers-was-70–995142

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Emilio J Del Pozo

Obit­u­ary

1948 — 2017

EMILIO DEL POZO

Emilio Jus­to Ger­ar­do Del Pozo y de la Osa, 68, of Asto­ria, NY, passed away on March 23rd, 2017.

A gath­er­ing will be held to cel­e­brate his life on Sun­day, April 23rd at 4pm at the Pro­duc­ers Club, 358 W. 44th St., New York, NY.

Emilio was born in Havana, Cuba on August 6th, 1948. He moved to the US when he was 7 years old and grew up in Mount Ver­non, NY at the Wart­burg Orphan Home. He served in the US Army dur­ing the Viet­nam era and went on to study act­ing, grad­u­at­ing from the Amer­i­can Musi­cal and Dra­mat­ic Acad­e­my.

He con­tin­ued to have a suc­cess­ful career for sev­er­al years in the New York per­form­ing arts indus­try, includ­ing a fea­tured role in the Round­about Theatre’s pro­duc­tion of ‘Sum­mer and Smoke,’ and under­study to Al Paci­no in the Broad­way pro­duc­tion of ‘Salome.’ He did sev­er­al Off-Broad­way and Region­al shows, numer­ous com­mer­cials in both the Eng­lish and Span­ish speak­ing mar­kets, had a sup­port­ing role on ‘Math­net,’ a Children’s Tele­vi­sion Work­shop pro­duc­tion, sev­er­al appear­ances on Soaps, and mul­ti­ple fea­tured roles on ‘Law and Order.’

While estab­lish­ing his act­ing career, he worked for many years in Secu­ri­ty at the Doral Hotel in Man­hat­tan.

Always hold­ing an inter­est in the arts, Emilio end­ed up work­ing for the Met­ro­pol­i­tan Muse­um of Art, from where he retired.

He enjoyed art in all its forms: whether it was act­ing, draw­ing, writ­ing, or music. Bob Dylan and The Bea­t­les were his favorite musi­cal artists, and he often quot­ed Dylan as Emilio was an avid admir­er of his poet­ry.

Emilio was a thinker. Phi­los­o­phy and sci­ence fic­tion were top­ics that kept him intel­lec­tu­al­ly stim­u­lat­ed, always search­ing for the deep­er mean­ing of why we are all here and where else we go.

Emilio is sur­vived by his two chil­dren, Bran­don Del Pozo of Bound Brook, NJ, and Lean­dra Del Pozo of Jer­sey City, NJ, his for­mer wife and moth­er of his chil­dren, Zita Geof­froy-Heinz of Bridge­wa­ter, NJ, his step-father Jose Gon­za­lez of Man­hat­tan, and many lov­ing cousins, friends and neigh­bors.

Emilio is pre-deceased by his moth­er Luisa de la Osa Gon­za­les.

In lieu of flow­ers, memo­r­i­al dona­tions may be made to the St. Jude Children’s Research Hos­pi­tal, 220 E. 42nd. St. New York, NY 10017, https://www.stjude.org,
or the Actor’s Fund https://donate.actorsfund.org.

Pub­lished on NYTimes.com from Apr. 18 to Apr. 19, 2017
http://www.legacy.com/obituaries/nytimes/obituary.aspx?n=emilio-j-del-pozo&pid=185121811
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