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Archimede el gera co la so tablet quando che un soldà romano el l’ha copà. Sona naturale? Mia tanto. E però, se “atualizémo” abbastanza el pasà, podémo rivar proprio qua. Quasi ogni cultura la ga edission modernizà de autori veci, co discussion su ortografia, vocabolario, note editoriali e adatamento par el letor de ancuo. Un antiquario el me ga dito una volta che “la patina del tempo la dà valor” e la pol far la diferenza tra un originale e una copia da poco. Verzo “Saggi de Domenega” de Constantin Noica, rivo a la prefassion de l’editor ne l’edission Humanitas del 1992 e scopro che “l’ortografia la xe stà atualizada”. Lézar Noica el podaria èsar sta come far una passegiada nei ani 1930–1940. Inveze, fasémo sta passegiada co ociai moderni, comodi dentro a un Uber, sensa paura de perderse — cioè sensa el rischio de no capir le parole de quel tempo, che le se podaria semplicemente “tradùzar” in nota a piè de pagina. E se ciapàsimo anca i giornai de l’epoca e li “atualizàsimo”? E magari podémo far anca un rebranding de le publicità de quel tempo, cussì i nostri neuroni no i ga da lavorar massa, come se fóssimo in un escape room. Parché fermarse qua? Podémo atualizar anca i libri de storia e scrìvar che Archimede de Siracusa el xe stà copà da un soldà romano mentre el faseva matematica su la so tablet. L’idea de fondo la resta la stessa, no? Sparisse solo l’epoca. E ancora una roba: parché i matematici no i “atualiza” Pitagora? I pol cambiar la notazion. I pol spiegar la dimostrazion in n’altro modo. I pol anca costruir el disegno online, co una animazion che la se forma davanti ai oci dei scolari. Ma el teorema de Pitagora el resta el teorema de Pitagora. Alora, quando che lézemo un autor vecio, parché no conservar anca la lengua del so tempo — e meter le spiegazion moderne in nota? E una ultima domanda par Humanitas e par quei che i lavora ne le facoltà de lettere e filologia: se fra qualche decenio i scolari de ancuo i ve “atualiza” co # e emoji, ve piase? #Humanitas #ConstantinNoica #Noica #SaggiDeDomenega #Archimede #Pitagora #Hashtag #Emoji #MrStorywise #OrtografiaAtualizada #StoriaDeLaLengua #20260920_1926 #Veneto #Venetian #Veneto #Italia #Italy #Letteratura #Storia

After “Broadway World”, Marina (1888) from the Teatro Umberto Giordano’s “GIO Festival” in Foggia now reaches the Belgian “Opera Gazet” SOURCE: https://medium.com/@ingnucllms/after-broadway-world-marina-1888-from-the-teatro-umberto-giordanos-gio-festival-in-foggia-73ba01e5f50a SOURCE: https://www.operagazet.com/marina-by-giordano-its-world-stage-premiere-in-foggia/ SOURCE: https://www.operagazet.com/marina-by-giordano-its-world-stage-premiere-in-foggia/ From the homepage of “Broadway World” to the pages of an authoritative international magazine: the world stage première of Umberto Giordano’s youthful melodrama now consecrates Foggia as the capital of a “rediscovered verismo”. There is a destiny that waits, patiently, to be fulfilled. It is the destiny of Marina, a one‑act melodrama with music by Umberto Giordano and a libretto by Enrico Golisciani, composed in 1888 for the celebrated Sonzogno competition and subsequently withdrawn by the composer himself, falling into an oblivion that lasted 138 years. That destiny was fulfilled on 5 June 2026 at the Teatro Umberto Giordano in Foggia, with the World Staging Première of the opera, the inaugural event of the first edition of the “GIO Festival” — “Giordano International Opera Festival”, the new international showcase which, from 5 to 20 June, transformed the Capitanata into a widespread stage devoted to the Maestro from Foggia. A cultural enterprise of European breadth, promoted by the Chamber of Commerce of Foggia together with the Municipality and the Province, supported by the Region of Puglia and the Fondazione Monti Uniti, and capable of restoring to history a fundamental fragment of nascent verismo. The Foggia production — directed by Giandomenico Vaccari, conducted and coordinated by Matteo Dal Maso, with sets and costumes by Alfredo Troisi, lighting by Massimo Russo, and soprano Valeria Sepe in the eponymous role — represented not a mere performance, but the scenic resurrection of an opera long believed lost. Its autograph score was rediscovered only recently at Yale University’s “Beinecke Rare Book and Manuscript Library”, within the “Frederick R. Koch” Collection, thanks to the philological work of the conductor and musicologist of Venetian and German heritage, Andreas Gies, who prepared its critical edition. After the transatlantic resonance that saw the “GIO Festival” reach the homepage of “Broadway World” thanks to the world première of Marina, complete with exclusive photographs of the historic debut, a new and prestigious international recognition now arrives. The authoritative Belgian opera magazine “Opera Gazet” dedicates an extensive musicological review to the Foggia event with the article: “ “MARINA” (by Giordano) — ITS WORLD STAGE PREMIÈRE IN FOGGIA”. An arrival far from secondary. If “Broadway World” marked the opera’s transatlantic debut, “Opera Gazet” now seals its critical consecration among the most discerning and specialised audiences: the melomaniacs, scholars, and professionals of the operatic world. From Foggia to New York, from New York to the circuit of the international opera press. The trajectory of Marina confirms what the “GIO Festival” has sought to demonstrate since its inception: Giordano’s legacy is not a local memory, but a living repertoire, capable of conversing with major stages and with the world’s most prestigious cultural outlets. The rediscovery born in Foggia is now a heritage shared by all.

What did a young Venetian named Luigi Ferdinando Marsili find in the year 1680? And how does it relate to #AMOC, the Atlantic Ocean current system that scientists are increasingly worried about? Must-watch video from the Howtown team! https://t.co/P4amvjLyjS #AMOC #VenetianHistory #OceanScience #IT