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Everyone from Mark Zuckerberg to Jensen Huang to Tom Cruise entrust their personal fortunes and maybe daily lives to the management of a young family office from San Francisco. Iconiq has also become a major AI investor—in Anthropic. Read the @bismarckanlys Brief (link below): https://t.co/JhaWyIt7MJ #Iconiq #AIInvestment #FamilyOffice #US

Iran’s bread price crisis is hitting the most basic part of daily life: food. In Tehran, official subsidized bakery prices have risen dramatically since September 2025: 🥖 Lavash: 1,550 → 2,700 toman — +74% 🥖 Barbari: 4,600 → 10,000 toman — +117% 🥖 Sangak: 7,600 → 15,500 https://t.co/sXp7e5F47C #Iran #FoodCrisis #BreadPrices #IR

43.8% AfD – CDU only 17.2% left. But the most exciting question is: What does the break in Magdeburg mean for Austria? Firewall in Germany, loser traffic light here – the parallels are unmistakable. (translated)

🇨🇳 🇺🇸 🇮🇷 China Proposes Middle East Security Framework - People’s Daily ➡ China’s proposed Middle East security framework offers a path toward lasting regional stability. ➡ President Xi Jinping proposed a four-point framework during talks with Egyptian President Abdel-Fattah #MiddleEast #China #SecurityFramework #CN #US #IR #EG

“BROADWAY WORLD” OF NEW YORK WELCOMES THE TEATRO MERCADANTE OF CERIGNOLA IN THE NAME OF THE MASCAGNI FESTIVAL SOURCE: https://www.linkedin.com/pulse/broadway-world-new-york-welcomes-teatro-mercadante-sardella-ph-d--i5mbe/ by Stephi Wild, New York City. SOURCE: https://www.broadwayworld.com/italy/article/Photos-Teatro-Mercadante-and-Teatro-Goldoni-Partner-on-SOUNDTRACK-MASCAGNI-20260827 The most influential theatrical portal in the world, with at least six million global visitors per month, consecrates the cultural twinning between Cerignola and Livorno and the historical restitution of a verismo born in Puglia, southern Italy: there exists a moment when a local history ceases to be peripheral and, by the mere fact of being recounted in the right place, becomes universal history. That moment, for the Teatro Mercadante di Cerignola, has arrived. Broadway World, the bible of international theatre read daily by producers, artistic directors and critics from New York to the West End, has welcomed into its pages the cultural pact between the Mercadante and the Fondazione Teatro Goldoni of Livorno, sealed in spring 2026 by Artistic Director Savino Zaba and the Municipal Administration in the person of the Deputy Mayor and Commissioner for Culture, Maria Dibisceglia. The piece is signed by New York editor Stephi Wild, under the title: “Photos: Teatro Mercadante and Teatro Goldoni Partner on SOUNDTRACK MASCAGNI”. It is no mere detail. Broadway World does not review provincial seasons. When it does, it is signalling to the American and global theatrical system that something, down there, deserves to be seen. The heart of this recognition is Soundtrack Mascagni: the music that inspired cinema, the cinema that celebrated Mascagni, the co-production chosen as the closing event of the VII edition of the Mascagni Festival. A hybrid work, a concert-reading for narrating voice, ensemble, images and sounds, with dramaturgy and text by Vittorio Giacci, performed by the Artists of the Mascagni Academy and the Orchestra of the Teatro Goldoni di Livorno “Massimo de Bernart” conducted by Maurizio Colasanti. On stage, in the guise of an imaginary Mascagni, as narrator and guide through his own musical universe, the actor-director Maurizio Nichetti. A production, as the Italian notes record, “born from the synergy between the Teatro Mercadante di Cerignola and the Teatro Goldoni di Livorno”, which will see on stage the great actor and director Maurizio Nichetti and the Orchestra of the Goldoni, conducted by Maestro Maurizio Colasanti, with direction entrusted to Marco Voleri and Savino Zaba. What Broadway World has intercepted, moreover, is not merely a production but also a historiographical thesis that at last forces the international literature to catch up. For decades, Anglophone biographies have dismissed Pietro Mascagni’s Apulian decade as “years of poverty and obscurity”: the documentary truth, preserved in the Polo Museale of Piano San Rocco, is of a different temper entirely. In December 1886, on tour with the Maresca company, Mascagni stopped in Cerignola, where the mayor then in office, Commendatore Cannone, invited him to remain to conduct the newly founded philharmonic. The composer would stay, save for brief absences, in the house in Via Assunta until 1895, composing no fewer than five operas: Cavalleria rusticana; L’amico Fritz; I Rantzau; Guglielmo Ratcliff; Silvano. A third of his entire operatic output, written in feverish poverty, in an agricultural town of the Ofantine plain. It was there, in July 1888, that the verses of Cavalleria reached him by postcard from Livorno, sent by his poet friends Giovanni Targioni-Tozzetti and Guido Menasci. There, on 27 May 1889, he completed the autograph. The envelope, that morning, bore the postmark of Cerignola. The world premiere at the Costanzi in Rome, on 17 May 1890 before Queen Margherita, was an earthquake. As Zaba has synthesised it, in a formula destined to endure: “Livorno gave Mascagni to the world. Cerignola inspired him and kept the deepest part of his soul.” In fact, the productive parabola sanctioned by BroadwayWorld is exemplary in the way it overturns the traditional North-South axis of cultural projects. It begins on 23 August at the Mascagni Festival in Livorno with Soundtrack Mascagni. Then its debut in Cerignola, in the course of the Mercadante’s forthcoming season. Indeed, with a date already fixed: “Soundtrack Mascagni” will be presented in Cerignola on 24 October as the opening production of the 2026/2027 theatrical season of the Teatro Mercadante. An idea as simple as it is revolutionary: cinema as a lens through which to re-read Mascagni. The composer plundered by Scorsese and Coppola, cited by Visconti as a tutelary deity, already possessed in his own writing — dense, symphonic, almost edited by cuts — a cinematic vocation. Soundtrack Mascagni does not merely celebrate that filiation; it interrogates it. That BroadwayWorld should have chosen to capture precisely this — a provincial theatre that does not seek hospitality but co-produces as an equal with a historic theatre such as the Goldoni — says much about the shifting of Italy’s cultural axis. No longer a South that imports, but a South that generates archives, that preserves autographs, caricatures, unpublished letters, and restores them to the international circuit. For Cerignola, accustomed to being narrated as a land of wheat and not of music, this arrival on Broadway World is more than a press clipping. It is the certification that its Mascagni story is no longer a local footnote, but a necessary chapter in the history of verismo. And that the Mercadante, from a provincial municipal theatre, has entered in full right the ranks of those Mascagni theatres upon which the whole world now looks, and with admiration.

Dall 'Edicola Fiore' al 'Teatro Edicola' di San Severo: L'ispirazione di Fiorello che conquista il prestigioso London Daily News SOURCE: https://www.linkedin.com/pulse/dall-edicola-fiore-al-teatro-di-san-severo-fiorello-sardella-ph-d--al34e/ La visione di Rosario Fiorello diventa realtà nel progetto rivoluzionario del direttore artistico di Foyer '97, Francesco Gravino di San Severo SOURCE: https://www.londondaily.news/why-londoners-should-discover-san-severo-where-a-disused-newsstand-became-teatro-edicola-the-worlds-smallest-theatre/ L'intuizione geniale di Rosario Fiorello su "Edicola Fiore" ha trovato una nuova vita nel cuore della Puglia. Francesco Gravino, direttore artistico della storica compagnia teatrale Foyer '97 di San Severo, ha tracciato direttamente a Fiorello e alla sua pluripremiata rassegna televisiva l'ispirazione che lo ha condotto a trasformare un chiosco di giornali abbandonato in quello che promette di diventare il teatro più piccolo del mondo. "Edicola Fiore" è stata la prima a dimostrare come uno spazio destinato alla vendita di quotidiani potesse trasformarsi in un palcoscenico autentico, trasformando il banale quotidiano in spettacolo. Quella lezione non è stata dimenticata: quando Gravino si è trovato davanti alla saracinesca abbassata di Via Matteo Tondi, ha riconosciuto il potenziale che Fiorello aveva già intuito anni prima. Il risultato, inaugurato il 27 marzo 2026 in concomitanza con la Giornata Mondiale del Teatro, è "Teatro Edicola": uno spazio di soli sei posti, dove undici attori ruotano un repertorio che spazia da Goldoni a Chekhov. Le performance, di dieci-quindici minuti ciascuna, hanno già attirato centinaia di visitatori incuriositi, attirando l'attenzione della stampa internazionale fino al prestigioso London Daily News, che ha riconosciuto nel progetto una dimostrazione potente di come la cultura rigenerativa non dipenda dai grandi budget, ma dalle idee capaci di unire una comunità. Il legame con Fiorello si rafforza ulteriormente grazie ai suoi collegamenti con figure di spicco della città, come Luca e Daniela Sardella, che hanno sostenuto l'iniziativa. Un riconoscimento indiretto che conferma come la visione dell'intrattenitore siciliano continui a ispirare nuove forme di espressione teatrale in Italia.

From Edicola Fiore to San Severo’s Teatro Edicola: Fiorello’s inspiration wins over the prestigious London Daily News SOURCE: https://www.linkedin.com/pulse/from-edicola-fiore-san-severos-teatro-fiorellos-wins-sardella-ph-d--vqxbe/ SOURCE: https://www.londondaily.news/why-londoners-should-discover-san-severo-where-a-disused-newsstand-became-teatro-edicola-the-worlds-smallest-theatre/ The vision of Rosario Fiorello takes tangible form in the revolutionary project conceived by Francesco Gravino of San Severo, artistic director of Foyer ’97. Fiorello’s brilliant intuition behind Edicola Fiore has found new life in the heart of Apulia. Gravino, who leads the historic theatre company Foyer ’97, has traced directly to Fiorello and his multi‑award‑winning television series the inspiration that led him to transform an abandoned news kiosk into what promises to become the smallest theatre in the world. Edicola Fiore was the first to demonstrate how a space originally intended for selling newspapers could be reimagined as a genuine stage, turning the ordinary rhythms of daily life into performance. That lesson was not forgotten: when Gravino found himself before the shuttered kiosk in Via Matteo Tondi, he recognised the potential Fiorello had intuited years earlier. The result, inaugurated on 27 March 2026 to coincide with World Theatre Day, is Teatro Edicola: a venue with only six seats, where eleven actors rotate a repertoire ranging from Goldoni to Chekhov. Performances of ten to fifteen minutes have already drawn hundreds of curious visitors, attracting the attention of the international press, including the prestigious London Daily News, which has hailed the project as a powerful demonstration that regenerative culture does not depend on large budgets but on ideas capable of bringing a community together. The connection with Fiorello is further strengthened by his links with prominent figures in the city, such as Luca and Daniela Sardella, who have supported the initiative. It is an indirect acknowledgement confirming that the Sicilian entertainer’s vision continues to inspire new forms of theatrical expression in Italy.