The idea is to make the Baths of Diocletian an island of culture. I am thinking of the Termini station area, where the Baths of Diocletian and Palazzo Massimo are located and where the Municipality of Rome and Grandi Stazioni will redevelop the Piazza dei Cinquecento.
Stéphane Verger: This is a project aimed not only at museum spaces, but also linked to urban redevelopment plans. The Art Newspaper: How will the plan connect different parts of Rome? We asked the director of the National Roman Museum, Stéphane Verger, about the radical new plans. The masterplan encompasses revamping the Great Halls around the basilica of Santa Maria degli Angeli in the Baths of Diocletian, one of the largest ancient bath complexes in the world, and a new display of the Boncompagni Ludovisi 17th-century sculpture collection at the Palazzo Altemps. The restoration of the four sites, overhauled under a government project known as “Urbs, from the city to the Roman countryside”, will take around four years, and includes the restoration of the buildings, reorganising the museum collections and opening new exhibition spaces. But of them all, the fifth has to be considered the greatest: sarcastic and funereal, inflammatory yet somehow managing to toe the party line – the final movement can be seen as both a parody of Stalinist excess, and an example of it – this was the symphony that made the young Shostakovich a name, for better or worse.One of the largest museum and heritage projects in Rome, the National Roman Museum initiative, has launched after the Italian ministry of culture recently approved €71m in funding (giving €100m in total) for the cultural scheme encompassing four major sites in the capital: the Baths of Diocletian, Palazzo Massimo alle Terme, Palazzo Altemps and Crypta Balbi.
Shostakovich wrote 15 symphonies in total, and he’s unique in that almost all of them made an actual cultural impact. The text, taken from a message scrawled on the wall of a Gestapo cell in World War II, dovetails so perfectly with Gorecki’s bare-bones accompaniment that it’s impossible to imagine a future without it. The concept is innovative and watertight – a soprano sings three texts inspired by themes of parents and missing children over a sparse and simple orchestral backing – but it’s the second movement that’s proved the real winner. 3 (‘Symphony of Sorrowful Songs’)Ī recording phenomenon in the 1990s, Gorecki’s third is not only popular now: it’s destined to be a future classic.
0 kommentar(er)
