Homenaje a Alejandro Cabranes Rubio HACE MÁS DE UN MES SE NOS HA IDO ALEJANDRO CABRANES RUBIO, JOVEN AMIGO DEL ALBÉNIZ. SU CORTÍSIMA VIDA HA ESTADO LLENA DE ENERGÍA Y DE AMOR A LA CULTURA TEATRAL Y CINEMATOGRÁFICA. ALEJANDRO SENTÍA UNAADMIRACIÓN CANDOROSA POR EL MUNDO DEL TEATRO Y DEL CINE. ABRAZÓ LA CAUSA DEL ALBÉNIZ DESDE EL PRINCIPIO Y CON ENORME COMPROMISO Y FIDELIDAD. NO HABÍA QUE LLAMARLE PARA QUE VINIERA Y ARROPARA SIEMPRE A LA PLATAFORMA CON SU PRESENCIA.
ALEJANDRO CREÓ UN BLOG LLAMADO http://teatroypeliculas.blogspo
t.com/ EN EL QUE PUEDE VERSE LO MUCHÍSIMO QUE TRABAJO ESCRIBIENDO SOBRE CINE Y TEATRO, HACIENDO ENTREVISTAS. SIEMPRE FUE UN AMIGO EN QUIEN APOYARSE.
NO PODEMOS DEJAR QUE SU MEMORIA PASE DESAPERCIBIDA EN ESTA PLATAFORMA. QUEREMOS HACERLE UN HOMENAJE PÚBLICO, Y CONVOCAREMOS EN BREVES DÍAS UN ACTO PARA RECORDAR A ESTA PERSONA QUE VALÍA TANTO Y QUE MERECE QUE SALUDEMOS SU CARIÑO Y SU ESFUERZO POR SALVAR EL ALBÉNIZ.
Un entusiasta del Cine y Teatro ha muerto. Alejandro Cabranes Rubio by Bertha Delgado Ayer me enteré por sorpresa que una persona con la que había compartido unas cuantas horas había fallecido. Me sorprendió mucho. Alejandro Cabranes Rubio colaboraba con nosotros en la Plataforma de Ayuda al Teatro Albéniz. Era licenciado en Historia, crítico y periodista, y sabía un montón de cine y teatro. Nunca había que llamarlo y siempre acudía a todas las concentraciones y debates que convocábamos, siempre por su propia motivación.
Tengo que reconocer que no tenía una relación muy fluída con él, no conseguí comunicarme bien, creo que más por culpa mía que por la de él, y si ahora siguiera viniendo a las concentraciones por el Albéniz, seguramente todavía seguiríamos igual. Aún así siempre él tuvo conmigo una actitud buenísima (incluso llegó a recomendar en su blog, el mío de ilustración que decía le gustaba muchísimo).
Él era un verdadero entusiasta del mundo de la cultura, era de estas personas que forman el ambiente del teatro y de los cines, los aficionados de verdad, de los que se entusiasman con el mundo del arte sin reservas. Una de estas personas que conocen a todos los actores, los consagrados y los que están empezando, y a todos les pregunta, habla con ellos, les hace entrevistas y les da a conocer (algo que tanto ayuda a los actores). Un engranaje básico para el funcionamiento de esta micro sociedad del teatro y el cine.
Tenía un blog que se llama Teatro y Películas. En mi opinión escribía muy bien (os recomiendo que lo visitéis) y dedicó unos cuantos artículos al tema del Teatro Albéniz, del que siempre se sentía indignado y trataba por todos los medios de dar a conocer (también en su blog). Hace poco (podéis verlo en el libro de visitas de este blog) defendía el trabajo de Beltrán Gambier en relación con el Albéniz, que era cuestionado por una persona por ser Beltrán argentino y defender un teatro español.
El pasado martes, estuvimos en el Ateneo con un debate sobre la conservación del Patrimonio Histórico Artístico. El consejero de Patrimonio que vino a debatir allí con nosotros y hablaba de que las asociaciones que allí estábamos hacíamos las cosas con mucho corazón (no sé si con eso, trataba de desprestigiarnos o algo parecido). El corazón frente a la eficacia de los técnicos de la justicia y la comunidad de Madrid. Hubo mucha gente de las asociaciones que se indignó al escucharlo y que se sintión dolida y algo frustrada.
Carlos Osorio, defensor de los cines del centro de Madrid, dijo que los lugares de la cultura, eran lugares de encuentro y de relación, donde se fomentaba el debate y que era esto era lo que nos hacía crecer, tanto en lo personal como en sociedad. Cada una de las personas que estaban en esas asociaciones estaba allí por varios motivos, pero uno básico era por amor a los sitios que quería proteger. Todos tienen una relación con ese sitio, que formaba parte de su vida, de sus recuerdos. Quizás parezca que eso no supone nada (somo unos pocos protestando por algo que no se escucha mucho en los medios), pero al final sí lo es. Ahora al pensar que Alejandro ya no está aquí, lo imagino como una especie de estela roja luminosa que ha dejado por las calles de Madrid, algo que se queda como poso, que se adhiere a las paredes y a las calles, que las cargan de una energía y de una luz. Alejandro sentía ese amor por la cultura, ahora me parece que brilla más y cuando lo recuerdo siento que ha dejado algo muy bonito. Te echaremos de menos.
61 aniverzario de la Fundacion de Los Derechos Humanos
Favor de difundir. From: Gonzalo Fernandez To: ^Medios de Comunicación - Amigos
Información publicada en Facebook, en una página de eventos creada y apoyada por los siguientes miembros de Facebook:
Guantanamera Del Guaso (creator)
Cesar Alexander Goza Rivera
Cuba Democracia Ya (Spain)
Carlos Goicolea
Este es el enlace correspondiente: http://www.facebook.com/event.php?eid=182282370355&ref=ts
Como todos saben el próximo 10 de diciembre se celebra en todo el mundo el día de los "Derechos Humanos".
Desgraciadamente para los cubanos este no es un día de celebración, sino de denuncia. Por eso nos estamos organizando para decir al mundo que en nuestro país se siguen violando sistematicamente los derechos fundamentales. Si eres cubano, y estás chantajeado por tu gobierno (Si te metes en política no entras más a Cuba) ¡Tapa tu cara! ¡Pero que no tapen tu boca!, repartiremos máscaras para decir al mundo que en Cuba no hay libertad de expresión. Lo importante es participar y denunciar. Da igual como.
POR ELLOS, POR TODOS, DERECHOS HUMANOS EN CUBA.
¡Contamos con todos! ¡Nos necesitamos todos!
Fecha: 05 de Diciembre de 2009 (Sábado)
ACTIVIDADES EN CIUDADES CONFIRMADAS. FAVOR DE COORDINAR EVENTOS SIMILARES EN CIUDADES QUE NO SE MUESTRAN EN ESTA LISTA:
MADRID. EMBAJADA DE CUBA EN ESPAÑA. Pº de La Habana, 194. 12:00 Horas.
BARCELONA CONSULADO DE CUBA EN BARCELONA Pº de Grácia, 34. 12:00 Horas.
MARBELLA. PARQUE DE LA ALAMEDA. 12:00 Horas.
PARÍS PLAZA DE LA REPÚBLICA. Junto al monumento. 11:00 Horas. (Desde las 10:00 estarán los organizadores)
MIAMI MONUMENTO HÉROES DE PLAYA GIRÓN. C/ 8 con la 13. 11 Horas.
TAMPA ... (Detalles proximamente)
TORONTO CONSULADO DE CUBA EN TORONTO. Cuban - Canadian Foundation. contacto: Ismael Sambra. ccnfound@idirect.com (Para más detalles)
ROMA FRENTE AL CONSULADO DE CUBA. 7 calle Licinia, Ambasciata de Cuba. Contacto (Facebook) - Giovanni de Ficchy.
Si no puedes asistir a ninguna de las concentraciones el próximo 05/12/2009 pon una BANDERA CUBANA en tu imágen de Facebook.
Tapa tu cara, pero que no tapen tu boca.
Los cubanos necesitan saber que cuentan con nuestro apoyo.
Imagino que muchos jovenes recordaran las socorridas peliculas . Los Tarantos, La vida sigue igual y Nuevo en esta Plaza.
Palomo Linares
"Palomo Linares" es el nombre artístico de Sebastián Palomo Martínez, matador de toros, pintor, actor de cine y criador de reses bravas español. Nacido el 27 de abril de 1947 en Linares, provincia de Jaén (el mismo pueblo en el que meses después Manolete encontró la muerte en la plaza de Santa Margarita)
Su padre era minero, viviendo una infancia llena de carencias en la España de la post guerra. Fue aprendiz de zapatero, pero a partir de los ocho años acudía a tentaderos y capeas en donde empezó a entender el arte de torear, como maletilla le apodaron "El rata" por su vivacidad. El 20 de julio de 1964 se inició profesionalmente al ser anunciado formalmente en la Plaza de Vista Alegre de Madrid como aspirante a torero en una novillada de concurso. Debuta con picadores en Ondara el 3 de enero del año 1965 donde corta cuatro orejas a un encierro de Núñez Guerra, alternando junto a Gregorio Tébar, El Inclusero y Vicente Punzón.
Recibe la "alternativa" el 19 de mayo de 1966
siendo Jaime Ostos su padrino y Mondeño el testigo, en la plaza de Valladolid, con toros de la ganadería de Salustiano Galache. A Feíllo, un toro negro, con el número 9, de 448 kilos, "Palomo" le cortó las dos orejas. Al toro que cerró plaza le hizo lo mismo. La "Campaña de Los Guerrilleros" [editar]
Eduardo Lozano y Paco Ruiz, apoderados del de Linares y Manuel Benítez "El Cordobés" respectivamente, llegan a un acuerdo por el cual los dos espadas torearían siempre juntos durante la temporada de 1969, manteniendo así la independencia ante los empresarios, algo que fue conocido como la campaña de 'Los guerrilleros'. Suman así hasta 65 corridas de toros, que en su mayor parte dejaban bastante que desear, sobre todo por el ganado lidiado y la categoría de las plazas. Confirma su alternativa en Madrid el 19 de mayo de 1970, con Curro Romero como padrino y "Juan José" García Corral como testigo, lidiando cinco toros de Antonio Pérez Angoso y uno de Antonio Pérez de San Fernando. Del primer hierro fue el toro de la ceremonia, de nombre Presumido, negro listón, número 87, de 555 kilos de peso, con el que el de Linares no se acopló. El Rabo de Madrid [editar]
La faena que instrumentó en Las Ventas al toro Cigarrón, negro meano, número 21, con 566 kilos de peso, perteneciente al hierro de Atanasio Fernández. Dos trofeos más conseguiría en el otro toro de su lote, en una tarde que estuvo acompañado en el cartel por Andrés Vázquez y Curro Rivera. Era el 22 de mayo de 1972 y desde hacía treinta y siete años no se cortaba un rabo en Madrid. Este hito suscitó la polémica en el mundo del toreo, pero sin duda significó una fecha histórica para Palomo Linares y para los enorgullecidos paisanos suyos. Se convirtió en un fenómeno social. El Cine [editar]
Fruto de esta circunstancia se sucedieron títulos cinematográficos en los que el linarense era el principal protagonista. Nuevo en esta plaza y Solos los dos, en ésta junto a Marisol, fueron películas de gran calado popular. Retiros y Regresos [editar]
La primera retirada de los ruedos tuvo lugar en Bogotá, el 31 de enero de 1982, en una tarde en la que compartió cartel con Pepe Cáceres y Curro Romero frente a tres toros de Vistahermosa y otros tantos de Pueblito Español, en la que consiguió cortar tres orejas. Reaparece en la plaza de toros de Acho, en Lima, en 1983 alternando junto a José Mari Manzanares y Paco Ojeda con toros de Marcos Núñez, saldándose su actuación con las dos orejas de uno de sus toros. En 1985 vuelve a retirarse de los ruedos, después de no estar afortunado en el ciclo isidril madrileño, para volver a reaparecer en 1993, temporada en la que toreó 19 corridas de toros en las que, a excepción de Madrid, no pisó cosos de relevancia. El 8 de septiembre de 2007 reaparecerá en la reinauguración de la plaza de toros de Belmez (provincia de Córdoba) en la que se prevé sea su última faena.
En 1969 compra junto a Eduardo Lozano la Ganadería de Pérez Tabernero, una de las más acreditadas ganaderías de España con antigüedad de 1895, que a partir de ese momento cambia de nombre a Palomo Linares, en 1997 Palomo le vende la mitad de sus intereses a su socio pero esta ganadería sigue lidiando bajo su nombre. Junto a su faceta taurina se encuentra su pasión por la pintura y las armas de fuego. Está casado con la ex modelo colombiana Marina Danko y tienen 3 hijos. Como pintor ha expuesto su obra en diversas galerías del mundo, se afirma que recoge en sus cuadros sus vivencias y las plasma recurriendo a la luz y al color A fecha del año 2007, Palomo Linares está volcado en la carrera de uno de sus hijos, Sebastián "Palomo" Linares hijo, que quiere seguir los pasos de su padre.
As Lt. Pinkerton in opera Madama Butterfly Mario Lanza (January 31, 1921 – October 7, 1959) was an Italian American tenor and Hollywood movie star in the late 1940s and 1950s. He was the son of Italian immigrants and began studying to be a professional singer at age 15. Orchestra conductor Arturo Toscanini would later call him "the greatest voice of the twentieth century." [1] Others referred to him as the "New Caruso," after his "instant success" in Hollywood films,[2] while MGM hoped he would become their "singing Clark Gable" with his good looks and powerful voice.[3] After his performance at the Hollywood Bowl in 1947, he signed a seven year contract with MGM head Louis B. Mayer who saw the show and was impressed by his singing. Before that time, Lanza had only two opera appearances, when in 1948 he sang Pinkerton in Puccinni's Madame Butterfly in New Orleans. His movie debut was The Midnight Kiss, which produced a hit song "Celeste Aida." The following year, in The Toast of New Orleans, his song "Be My Love" became his first million-selling hit. In 1951, he starred in the role of his idol, Enrico Caruso, in the biopic, The Great Caruso, which produced another million-seller with "The Loveliest Night of the Year." It was the top-grossing film that year.[4] His next film, Because You're Mine, produced his final million-selling hit of the same title, and earned an Academy Award nomination. After recording the soundtrack for his next film, The Student Prince he walked out on the project after an argument with producer Dore Schary over his behavior on the set. Lanza was known to be "rebellious, tough, and ambitious,"[3] and during most of his film career, he suffered from addictions to overeating and alcohol which had a serious affect on his health and his relationships with directors, producers and sometimes the cast. Hollywood columnist Hedda Hopper writes that "his smile, which was as big as his voice, was matched with the habits of a tiger cub, impossible to housebreak." She adds that he was the "last of the great romantic performers."[5] He made three more films before dying of a heart attack at the age of 38. At the time of his death in 1959 he was still "the most famous tenor in the world."[6] Author Eleonora Kimmel concludes that Lanza "blazed like a meteor whose light lasts a brief moment in time."[7] The Lanza "myth" was created by familiar Hollywood formulas, which used his social class, his Italian-American identity, combined with his good looks and exceptional talent as a singer, to create the "poor boy makes good," who is "transformed into a star."[3] He appealed to audiences worldwide with his ability to cater to various musical tastes, including operatic arias, popular songs, Neopolitan favorites, operettas, sacred songs, and Great American Songbook standards, making him what some call the "crossover artist supreme."[6] Today, the "magnitude of his contribution to popular music is still hotly debated," as he only appeared on the opera stage twice and many felt he needed more "operatic quality time" before being considered a great star of opera.[6] Nonetheless, his groundbreaking films, especially The Great Caruso, influenced numerous future opera stars, including José Carreras, Plácido Domingo, and Luciano Pavorotti.[6] According to opera historian Clyde McCants, "Of all the Hollywood singers who performed operatic music . . . the one who made the greatest impact was Mario Lanza,"[8] while Hedda Hopper concludes, ". . . there had never been anyone like Mario, and I doubt whether we shall ever see his like again."[5] Contents [hide] 1 Early years 2 Opera career 3 Film career 4 Death 5 Legacy 6 Filmography 7 Select recordings 8 References 9 Additional reading material 10 External links 11 Videos [edit]Early years
Born Alfred Arnold Cocozza in Philadelphia, Pennsylvania, he was exposed to opera and singing at a young age by his Abruzzese-Molisan Italian immigrant parents, and by the age of 16 his vocal talent had become apparent. Starting out in local operatic productions in Philadelphia for the YMCA Opera Company while still in his teens, he later came to the attention of conductor Serge Koussevitzky, who in 1942 provided young Cocozza with a full student scholarship to the Berkshire Music Center at Tanglewood in Massachusetts. Koussevitzky would later tell him that, "Yours is a voice such as is heard once in a hundred years." [edit]Opera career
His operatic debut, as Fenton in an English translation of Otto Nicolai's Die lustigen Weiber von Windsor, was at the Berkshire Music Festival in Tanglewood on August 7, 1942, after studying with conductors Boris Goldovsky and Leonard Bernstein. It was here that Cocozza adopted the stage name Mario Lanza, which was the masculine version of his mother’s maiden name, Maria Lanza. His performances at Tanglewood won him critical acclaim, with Noel Straus of The New York Times hailing the 21-year-old tenor as having "few equals among tenors of the day in terms of quality, warmth, and power." Herbert Graf subsequently wrote in the Opera News of October 5, 1942 that, "A real find of the season was Mario Lanza [...] He would have no difficulty one day being asked to join the Metropolitan Opera." Lanza performed the role of Fenton twice at Tanglewood, in addition to appearing there in a one-off presentation of Act III of Puccini's La Bohème with the noted Mexican soprano Irma González, baritone James Pease, and mezzo-soprano Laura Castellano. Music critic Jay C. Rosenfeld wrote in The New York Times of August 9, 1942 that, "Miss González as Mimì and Mario Lanza as Rodolfo were conspicuous by the beauty of their voices and the vividness of their characterizations." In an interview shortly before her death in 2008, Ms. González recalled that Lanza was "very correct, likeable, [and] with a powerful and beautiful voice."
Lanza as Giuseppe Verdi's Otello His budding operatic career was interrupted by World War II, when he was assigned to Special Services in the U.S. Army Air Corps. He appeared in the wartime shows On the Beam and Winged Victory. He also appeared in the film version of the latter (albeit as an unrecognizable member of the chorus). Lanza resumed his singing career with a concert in Atlantic City with the NBC Symphony Orchestra in September 1945 under the baton of Peter Herman Adler, who subsequently became a mentor to him. The following month, Lanza replaced tenor Jan Peerce on the live CBS radio program Great Moments in Music, on which he made six appearances over a period of four months, singing extracts from various operas and other works. He then studied with noted teacher Enrico Rosati for fifteen months, acquiring a solid vocal technique that enabled him, in his own words, "to sing for hours without becoming tired." His friend and colleague bass-baritone George London later recalled that prior to working with Rosati, Lanza's voice "was unschooled, but of incredible beauty, with ringing, fearless high notes. [...] Rosati taught him to sing more lyrically, with less pressure, to good advantage." His studies with Rosati completed, Lanza embarked on an 86-concert tour of the United States, Canada and Mexico between July 1947 and May 1948 with George London and soprano Frances Yeend. Reviewing his second appearance at Chicago's Grant Park in July 1947 in the Chicago Sunday Tribune, the respected music critic Claudia Cassidy praised Lanza's "superbly natural tenor" and observed that "though a multitude of fine points evade him, he possesses the things almost impossible to learn. He knows the accent that makes a lyric line reach its audience, and he knows why opera is music drama." In April 1948, Lanza sang two performances as Pinkerton in Puccini's Madama Butterfly for the New Orleans Opera Association. The conductor was Walter Herbert. Writing in the St. Louis News, critic Laurence Odel observed that, "Mario Lanza performed his duties as Lieut. Pinkerton with considerable verve and dash. Rarely have we seen a more superbly romantic leading tenor. His exceptionally beautiful voice helps immeasurably." Following the success of these performances, Lanza was invited to return to New Orleans in 1949 as Alfredo in Verdi's La traviata. However, as biographer Armando Cesari observes, by 1949 Lanza "was already deeply engulfed in the Hollywood machinery and consequently never learned the role [of Alfredo]." [edit]Film career
A concert at the Hollywood Bowl in August 1947 had brought Lanza to the attention of Louis B. Mayer, who promptly signed Lanza to a seven-year film contract with Metro-Goldwyn-Mayer. This proved to be a turning point in the young singer's career. The contract required him to commit to the studio for six months, and at first Lanza believed he would be able to combine his film career with his operatic and concert one. In May 1949, he made his first commercial recordings with RCA Victor. His rendition of the aria Che Gelida Manina from that session was subsequently awarded the prize of Operatic Recording of the Year by the (United States) National Record Critics Association. The Toast of New Orleans Lanza's first two starring films, That Midnight Kiss and The Toast of New Orleans, were commercial successes, and in 1950 the tenor's recording of "Be My Love" became the first of three million-selling singles for the young singer, earning him enormous fame in the process. While at MGM, Lanza worked closely with the Academy Award-winning conductor, composer, and arranger Johnny Green. In a 1977 interview with Lanza biographer Armando Cesari, Green recalled that the tenor was insecure about the manner in which he had become successful, and was keenly aware of the fact that he had become a Hollywood star before first having established himself on the operatic stage. "Had [Lanza] been already a leading tenor, if not the leading tenor at the Met[ropolitan Opera House], and come to Hollywood in between seasons to make a picture, he would have had [the security of having] the Met as his home," Green remarked. According to Green, Lanza possessed "the voice of the next Caruso. [Lanza] had an unusual, very unusual quality...a tenor with a baritone color in the middle and lower registers, and a great feeling for the making of music. A great musicality. I found it fascinating, musically, to work with [him]." The Great Caruso In 1951, Lanza portrayed Enrico Caruso in The Great Caruso, which proved an astonishing success, though it did not adhere to the facts of Caruso's life. At the same time, Lanza's increasing popularity exposed him to intense criticism by some music critics, including those who had praised his work years earlier. Nevertheless, Lanza's performance earned him compliments from the subject's own son, Enrico Caruso Jr., a tenor in his own right. Shortly before his death in 1987, Enrico Jr. wrote in Enrico Caruso: My Father and My Family (posthumously published by Amadeus in 1990) that, "I can think of no other tenor, before or since Mario Lanza, who could have risen with comparable success to the challenge of playing Caruso in a screen biography. [...] Mario Lanza was born with one of the dozen or so great tenor voices of the century, with a natural voice placement, an unmistakable and very pleasing timbre, and a nearly infallible musical instinct." He went on to praise Lanza's tempi and phrasing, "flawless" diction, and "impassioned" delivery, adding that, "All are qualities that few singers are born with and others can never attain." In conclusion, he wrote that, "Lanza excelled in both the classical and the light popular repertory, an accomplishment that was beyond even my father's exceptional talents." The Student Prince
Tenor Richard Tucker (left) speaking with Lanza in 1958 at Tucker's Covent Garden debut. In 1952, Lanza was dismissed by MGM after he had pre-recorded the songs for The Student Prince. The reason most frequently cited in the tabloid press at the time was that his recurring weight problem had made it impossible for him to fit into the costumes of the Prince. However, as his biographers Cesari and Mannering have established, Lanza was not overweight at the beginning of the production, and it was, in fact, a disagreement with director Curtis Bernhardt over Lanza's singing of one of the songs in the film that led to Lanza walking off the set. MGM refused to replace Bernhardt, and the film was subsequently made with actor Edmund Purdom miming to Lanza's vocals. Ironically, the eventual director of the film was Richard Thorpe, the same man whom Lanza had pleaded with MGM to replace Bernhardt, and with whom the tenor had enjoyed an excellent working relationship in The Great Caruso. Depressed by his dismissal, and with his self-confidence severely undermined, Lanza became a virtual recluse for more than a year, frequently seeking refuge in alcoholic binges. During this period, Lanza also came very close to bankruptcy as a result of poor investment decisions by his former manager, and his lavish spending habits left him owing about $250,000 in back taxes to the IRS. Serenade He returned to an active film career in 1955 in Serenade. However, despite its strong musical content, which included the Act III duet from Verdi's Otello (performed with soprano Licia Albanese), and arias from Otello, Der Rosenkavalier, Fedora, and L'Arlesiana, it was not as successful as his previous films. Lanza then moved to Rome, Italy in May 1957, where he worked on the film Seven Hills of Rome and returned to live performing in a series of acclaimed concerts throughout Britain, Ireland and the European continent. Despite failing health, which resulted in a number of cancellations during this period, Lanza continued to receive offers for operatic appearances, concerts, and films. In September 1958, he made a number of operatic recordings at the Rome Opera House for the soundtrack of what would turn out to be his final film, For the First Time. Here he came into contact with the Artistic Director of the Rome Opera, Riccardo Vitale, who offered him the role of Canio in Pagliacci in the theater's 1960/61 season. Lanza also received offers from the management of the La Scala and San Carlo opera houses. At the same time, however, his health continued to decline, with the tenor suffering from a variety of ailments, including phlebitis and acute high blood pressure. The old habits of overeating and crash dieting, coupled with his binge drinking, compounded his problems. [edit]Death
In April 1959, Lanza suffered a minor heart attack, followed by double pneumonia in August. He died in Rome in October of that year at the age of 38 from a pulmonary embolism after undergoing a controversial weight loss program colloquially known as "the twilight sleep treatment," which required its patients to be kept immobile and sedated for prolonged periods. Attendees at his funeral were the singers Maria Caniglia and Lidia Nerozzi and the actors Franco Fabrizi and Enzo Fiermonte. Frank Sinatra sent his condolences by telegram.[9] Lanza's widow, Betty, moved back to Hollywood with their four children, but died five months later at the age of 37. Biographer Armando Cesari writes that the apparent cause of death, according to the coroner, was "asphyxiation resulting from a respiratory ailment for which she had been receiving medication". In 1991, Marc, the younger of their two sons, died of a heart attack at the age of 37; six years later, Colleen, their eldest daughter, was killed at the age of 48 when she was struck by two passing vehicles on a highway. Damon Lanza, the couple's eldest son, died in August 2008 of a heart attack at the age of 55. [edit]Legacy
Deadly blast is the latest to hit the world’s deadliest mining industry Share with friends Print or License Recommend | 6 Times Article Comments (41) Maxim Duncan Harbin, China — Reuters Published on Friday, Nov. 20, 2009 11:19PM EST Last updated on Saturday, Nov. 21, 2009 9:30PM EST A gas explosion killed 87 miners in a Chinese mine on Saturday and 21 remain trapped hundreds of metres underground after the latest accident to hit the world’s deadliest mining industry, state media said.
The blast ripped through the mine at about 2.30 a.m. local time when there were 528 people at work, but more than 400 have now got out safely, the official Xinhua news agency said, citing rescue team spokesman Zhang Jinguang.
The blast was so violent it shook the surrounding area. Buildings near the mine mouth have partially collapsed, and some survivors were knocked unconscious temporarily.
“I passed out for a while. I found I was shrouded by heavy smoke, when I regained consciousness. I groped my way out in the dark,” 27-year-old electrician Wang Xingang told Xinhua.
Mr. Wang is in hospital with 28 others who escaped the mine, said Pan Xiaowen, deputy director of the Hegang Mining Bureau Hospital. Six of them are seriously injured.
The Xinxing mine is in Heilongjiang province, which borders Russia. It is owned by the Heilongjiang Longmei Mining Holding Group, and produces 12 million tonnes of coal a year, Xinhua said, making it larger than most mines where accidents occur.
Vice Premier Zhang Dejiang is heading to the site of the accident, and Chinese President Hu Jintao and Premier Wen Jiabao have given instructions about the rescue work, a sign of official concern about the latest in a long string of disasters.
Rescue teams are on site, with 156 people hunting for the missing miners, state television said.
Lax safety standards and strong demand for resources have made China’s mines the deadliest in the world, despite a government drive to clamp down on the tiny, unsafe operations where most accidents occur.
More than 3,000 people died in mine floods, explosions, collapses and other accidents in 2008.
Explosión en mina mata a 42 trabajadores chinos Por CARA ANNA The Associated Press Sábado, Noviembre 21, 2009 05:48 AM EST Print Share More Resto del Mundo Sube a 87 número de mineros muertos en ChinaSube a 87, número de mineros muertos en ChinaRiga: Cosmopolita e históricaMubarak promete no tolerar ataques contra egipciosActivistas de Internet revisan impacto de red en democraciaMore Resto del Mundo BEIJING (AP) — Una explosión en una mina carbonífera en el norte de China mató el sábado a 42 trabajadores y dejó a otros 66 atrapados bajo tierra, generando esfuerzos desesperados de los equipos de emergencia para salvarlos, informaron las autoridades del gobierno central.
Un total de 528 personas se encontraban trabajando en la mina de Xinxing, en la provincia de Heilongjiang, cuando la explosión sobrevino a las 2:30 de la madrugada, informó en un comunicado la Administración Estatal de Seguridad en el Trabajo. Señaló que 389 lograron escapar tras el accidente.
Un canal de televisión chino reportó que 42 trabajadores murieron, 31 fueron rescatados y el resto quedaron atrapados a unos 500 metros (un tercio de milla) bajo el suelo. La causa de la explosión fue una acumulación de gas, indicó el reporte. Rompió cristales ubicados a 20 metros de la entrada a la mina.
Las imágenes televisadas mostraban humo emanando de la mina y un edificio cercano colapsado. El comunicado indicó que la ventilación y las vías de comunicación en la mina habían sido cortadas por la explosión, lo que dificultaba los esfuerzos de rescate.
Una persona que respondió a una llamada telefónica en la mina dijo que un número desconocido de personas resultaron lesionadas en el estallido. La fuente no quiso identificarse, algo común entre los funcionarios chinos.
La mina está ubicada cerca de la frontera con Rusia, a unos 400 kilómetros (250 millas) al noreste de la capital provincial, Harbin.
Las minas chinas son las más peligrosas del mundo, y la explosión demuestra las dificultades del gobierno chino en intentar potenciar la seguridad en una industria en la cual las minas estatales más grandes son consideradas más seguras que las pequeñas y privadas.
La mina es operada por una de las 520 empresas estatales del país, de acuerdo con la página de internet de su propietaria, la rama de Hegang del Grupo Controlador Minero Heilongjiang Longmei. La página señala que la rama de Hegang tiene más de 88.000 empleados.
Las minas de China son consideradas las más mortíferas del mundo. Las operaciones no reguladas representan casi el 80% de aproximadamente 16.000 que hay en el país.
El cierre de muchas minas pequeñas, consideradas peligrosas, redujo a la mitad el número de mineros muertos, a unos seis diarios, en la primera mitad de este año, según estadísticas oficiales.
La mayoría de los accidentes se atribuye a la falta de seguimiento de las reglas de seguridad, incluida la falta de la ventilación requerida o de equipo para controlar incendios.
En febrero, una explosión en la mina carbonífera de Tunlan, en la provincia septentrional de Shanxi, mató a 77 personas. Se trata del peor accidente industrial en el país en un año.
ULTIMA HORA
Al menos 87 muertos y 21 atrapados por una explosión de gas en una mina de carbón en China
El humo y el frío han dificultado las tareas de rescate en la mina | AP Una explosión en una mina de carbón en China deja al menos 44 muertos AGENCIAS | HARBIN (CHINA) Actualizado Domingo , 22-11-09 a las 01 : 58 Al menos 87 mineros han muerto y otros 66 se encuentran atrapados a 500 metros bajo tierra tras la explosión de gas registrada esta madrugada en una mina del oeste de China, aunos 400 kilómetros de la frontera con Rusia, según informaron medios oficiales. Fueron rescatados 31 trabajadores, seis de los cuales se encuentran ingresados de gravedad en el hospital. El accidente tuvo lugar concretamente en la mina de carbón Xinxing, en la provincia de Heilongjiang, a donde se han trasladado ya más de 60 efectivos de rescate, que han trabajado con temperaturas que alcanzaban los 10 grados bajo cero y con la nieve cubriendo el terreno. Han contado ademáscon la representación gubernamental del viceprimer ministro Zhang Dejiang, según informa la agencia oficial de noticias china, Xinhua. La compañía propietaria de la mina, el grupo Heilongjiang Longmei Mining, en la ciudad de Hegang, explicó que cuando se registró la explosión, en torno a las 2:30 (hora local), 528 empleados trabajaban en el interior del yacimiento, de los cuales 389 lograron escapar. Sólo en Hegang 88.000 personas trabajan en las minas. Este tipo de accidentes son relativamente frecuentes en China, cuyas minas son las más peligrosas del mundo debido a la falta de medidas de seguridad y a la carencia de inversiones que mejoren las explotaciones. Más de 3.000 mineros murieron en 2008 a causa de inundaciones, explosiones, derrumbes y otro accidentes.
ENTERATE
Harbin. The agriculture of Heilongjiang, heavily defined by its cold climate, is based upon crops such as soybeans, maize, and wheat. Commercial crops grown include beets, flax, and sunflowers.
Heilongjiang is also an important source of lumber for China. Pine, especially the Korean pine and larch are the most important forms of lumber produced in Heilongjiang. Forests are mostly to be found in the Daxingan Mountains and Xiaoxingan Mountains, which are also home to protected animal species such as the Siberian Tiger, the red-crowned crane, and the lynx. Herding in Heilongjiang is centered upon horse and cattle. Heilongjiang has the greatest number of milk cows and the highest production of milk among all the province-level divisions of China.
PETROLEO COAL GOLD GRAPHITE
Petroleum is of great importance in Heilongjiang, and the Daqing oilfields are an important source of petroleum for China. Coal, gold, and graphite are other important minerals to be found in Heilongjiang. Heilongjiang also has great potential for wind power, with an average wind energy density of 200 watts per square metre.
Gateway for trade with RUSSIA Heilongjiang is part of northeast China, the traditional base of industry for the People's Republic of China. Industry is focused upon coal, petroleum, lumber, machinery, and food. Due to its location, Heilongjiang is also an important gateway for trade with Russia. In recent years,[when?] Manchuria has suffered from stagnation. As a result, the government has started the Revitalize Northeast China campaign to deal with this problem, using privatization as the preferred method of economic reform.
At least " REPORTED" ...la vida de un obrero chino no vale nada
At least five miners were killed after a coal mine fire in Heilongjiang it was reported on September 21, 2008.[4] Its GDP has been rising steadily since 2003, growing 37% from 2003-2007. Furthermore, the incremental value of the private economy grew by 20.1 percent in 2006 reaching RMB234 billion, and accounting for 37.6 percent of the GDP. The tax revenue from private enterprises hit RMB20.5 billion, a rise of 17.8 percent.[3]
Private ENTERPRISES Private enterprises in Heilongjiang witnessed the fastest development in 2007, fueling the overall economic growth of the province. Many leading private enterprises have begun to emerge. Over 200 of them have an annual income exceeding RMB100 million. The province's three major private enterprises, namely the Heilongjiang Sunflower Medicine Ltd, Qitaihe Yidaxin Coal Co., and Heilongjiang Yiyang Group, each contributed more than RMB100 million in tax revenue in 2007.[5]
Many private investors 831 billion
At present, many private investors are involved in large construction projects in Heilongjiang. In 2006, 928 large projects absorbed private capital of RMB5 million each, and 101 projects attracted RMB100 million each within the province. In line with the centralgovernment’s policy to revitalize the Northeast, Heilongjiang is now restructuring its six pillar industries, namely equipment manufacturing, petrochemicals, food processing, energy, pharmaceuticals, and forest and timber processing.[5] In 2008, Heilongjiang's nominal GDP was 831 billion yuan (US$120 billion), an annual growth rate of 11.8%. Its per capita GDP was 21,727 yuan (US$3,128). Its primary, secondary, and tertiary industries were worth 108.9 billion yuan, 436.6 billion yuan, and 285.5 billion yuan respectively.[6] The per capita disposable income of urban residents in Heilongjiang reached 11,581 yuan (US$1,667), a rise of 13% from the previous year. The per capita net income of rural residents in the province reached 4,856 yuan (US$700), a rise of 17.5 from 2007.[7]
Economic and Technological Development Zones Daqing New & Hi-Tech Industrial Development Zone Heihe Border Economic Cooperation Area Harbin Economic and Technological Development Zone Harbin New & Hi-Tech Industrial Development Zone Suifenhe Border Economic Cooperation Area
Cuestionario hecho a Olguita Guillot en el Million Dollar en el 1959
Marzo 30 1959 Million Dollar
Domicilio Antule 16 Colonia Linda Vista Mexico D. D.
Genero artistico se dedica a:
Cantante y actriz
Color de cabello Negro
Ojos Cafe
Piel Morena
Estadps Civil Soltera
Estatura 5:5
Peso 132 lbs
Lugar de naciemiento La Habana Cuba
Dia 9 de octubre
Nombre y profesion de sus padres Prefiero dejarlos al margen
Educacion Educacion Elemental Bachillerato Universidad de La Habana Magisterio
Desempeña alguna profesion No
Trabaja en teatros Si En teatros de Revista
Educacion dramatica No estudie musica solfeo canto y declamacion
Se inicio en la carrera Desde muy pequeña Cantaba en las fiesata infantiles y funciones de aficionados
Su primer debut Debute en la Radio en el 1942
Paises que ha conocido Todo Latinoamaerica España Italia Francia Portugal
Que idioma habla Español Portugues
Timbre de voz Contra alto
Color preferido Blanco
Canta Si
Deportes Cantar y dormir
Instrumentos Ninguno
Bailes Profesionalmente ninguno
Cual es su diversion preferida El Cine
Su primera actuacion cinematografica
En el año 1940 en la pelicuala " La Venus de Fuego " Mexico
Que ambiciona Nada, estoy contenta como soy
Si no fuera artista que seria Artista
Peliculas donde ha tomado parte " La Venus de Fuego " " Cita con la Muerte" "Hymo en los Ojos" " Yambao"
A principios del 1959 Hize una gira por Europa Actue en España , Francia Italia y Portugal
Cuando termine mi actuacion en el Million Dollar renaudare mis actuaciones en el Teatro " Lirico" y en el programa de television " Max Factor" del que soy exclusiva.
