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2002–2012 During the season of 2002 – 2003 Tro Santafé sang Rosina at the Théâtre du Capitol de Toulouse in Rossini’s Il barbiere di Siviglia, which was followed by her debut at the Wiener Staatsoper also starring as Rosina alongside Juan Diego Flórez, a role she then went on to sing more performances of than any other artist in that house. Important role debuts followed including the title role in Handel’s Rinaldo in the Staatsoper Unter den Linden in Berlin with René Jacobs in a new production by Nigel Lowery and a new production of Handel’s Giulio Cesare (Tolomeo) in the Teatro Comunale di Bologna staged by Luca Ronconi. In that season Tro Santafé also returned to the Staatsoper Unter den Linden to sing Rosina and to the Rossini Opera Festival for a Belcanto solo recital accompanied on piano by Julian Reynolds at the Teatro Rossini di Pesaro.
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During the season of 2003 – 2004 Tro Santafé made her debut at the Théâtre des Champs-Élysées in Paris in a new production of Handel’s Serse (Bradamante) together with Anne Sophie von Otter, staged by Gilbert Deflo and conducted by Willian Christie, which was recorded. She also made her title role debut at the Gran Teatre del Liceu in Barcelona in the Jorge Lavelli’s production of Ravel’s L'enfant et les sortilèges, which was followed by the title role of Cavalli’s Eliogabalo at the Théâtre Royal de la Monnaie in Brussels conducted by René Jacobs. Tro Santafé then made her debut at Oper Frankfurt with Rossini’s Il viaggio a Reims (Contessa Melibea) and at the Deutsche Oper Berlin in Rossini’s L'equivoco stravagante (Ernestina) conducted by Alberto Zedda. This was followed by singing the title role in Gluck’s Orfeo ed Euridice at the Teatro Piccinni in Bari.
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In the season of 2004 – 2005, Tro Santafé made her debut at the Teatro La Fenice in Venice in Mozart’s La finta semplice (Giacinta). She also returned to the Staatsoper Unter den Linden in Berlin for a new production of Rossini’s L’italiana in Algeri (Isabella) staged by Nigel Lowery, and to the Wiener Staatsoper for performances of Rosina. Tro Santafé also made her debut at the Zurich Opera House as Angelina in Rossini’s La Cenerentola and to The Dutch National Opera in Amsterdam to sing Handel’s Alcina (Ruggiero) conducted by Christophe Rousset. She appeared in the Théâtre du Chatelet de Paris for a concert performance of the same opera. Tro Santafé also sang Alcina (Ruggiero) at the Ópera de Oviedo in Asturias (Spain) and made her debut in Rossini’s La Donna del Lago (Malcolm) at the Teatro Nacional de São Carlos in Lisbon opposite Rockwell Blake. The season finished with more performances in the Innsbruck Festwochen of Cavalli’s Eliogabalo.
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Season of 2005 – 2006 saw Tro Santafé singing again Rosina at the Dutch National Opera in Amsterdam and at the Grand Théâtre de Luxembourg in the Dario Fo production conducted by Julian Reynolds. She went back to the Wiener Staatsoper and the Zurich Opera House for more Rosinas and sang the title role in Handel’s Ariodante in Barcelona at the Gran Teatre del Liceu.
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During 2006 – 2007 Tro Santafé made her debut at the Bayerische Staatsoper München with Rossini’s La Cenerentola and at the Staatsoper Hamburg, followed by Bellini’s Norma (Adalgisa) with Edita Gruberová in the title role before returning to the Wiener Staatsoper and the Zurich Opera House for more performances of Rosina. She also debuted at the Theater an der Wien for a new production staged by Laurent Pelly of Mozart’s La finta semplice (Giacinta). Tro Santafé was invited for the first time to sing in her hometown at the recently inaugurated Palau de les Arts Reina Sofía for a recital during the cycle of Valencian voices. She returned to Zurich Opera House that season for her house debut of Rossini’s Italiana together with performances of La Cenerentola and returned to the Wiener Staatsoper for further performances of Rosina, and to the Staatsoper Hamburg playing Adalgisa in Norma with the Hamburg Philharmoniker conducted by Stefan Anton Reck.
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2007 – 2008 season began with Tro Santafé in the Wiener Staatsoper in Il Barbiere, followed by a new production of La Cenerentola at the Grand Teatre del Liceu in Barcelona staged by Joan Font. She then also appeared in the Staatsoper Unter den Linden in Berlin as Rosina and joined Edita Gruberova at the Berliner Philharmonie in a concert version of Bellini’s Norma (Adalgisa). A string of performances included L’Italiana at the Semperoper Dresden, Il barbiere di Siviglia (Rosina) at the Hamburg Staatsoper, appearing at the Wiener Staatsoper in La Cenerentola and L’italiana at the Zurich Opera. Tro Santafé returned to the Palau de les Arts Reina Sofia in Valencia for Handel’s Orlando (Medoro) in a new staging by Francisco Negrin. The 2008-2009 season saw Tro Santafé appearing in a new production of La Cenerentola at Théâtre Royal de la Monnaie staged by Joan Font, conducted by Mark Minkowski singing opposite Javier Camarena. Tro Santafé returned to the Wiener Staatsoper and then to
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the Ópera de Oviedo as Rosina in a new production staged by Mariame Clément.
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In 2009 Signum Classics released SPANISH HEROINES, her first solo album of arias from operas conducted by Julian Reynolds with Orquesta Sinfónica de Navarra. She also returned for a recital at her hometown concert hall Palau de la Música de València. before returning to the Teatro Comunale di Bologna for a new production of Rossini’s La Gazza ladra (Pippo) staged by Damiano Michieletto, conducted by Michele Mariotti. That was followed by her L’Italiana in Algeri debut in the Wiener Staatsoper (Isabella) in the classic Jean Pierre Ponnelle production again with Juan Diego Flórez and Ferruccio Furlanetto. The same year Tro Santafé also appeared in La Cenerentola at the Semperoper Dresden, performed at the Klangvocal Festival in Dortmund with a role debut of Giovanna Seymour in Donizetti’s Anna Bolena opposite Mariella Devia, and returned to Hamburg Staatsoper for Rossini’s Il barbiere di Siviglia.
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During the season of 2009 – 2010 Tro Santafé made important debuts including the Washington National Opera in her signature role of Rosina, with Lawrence Brownlee conducted by Michele Mariotti. After her successful debut in Washington, DC, Tro Santafé went to Madrid for her title role debut at the Teatro Real with l’Italiana in Algeri conducted by Jesús López Cobos and finished 2009 with L’Italiana at the Associación Amics de s’ópera de Maó in Menorca. Signum Classics also released her second solo album ROSSINI MEZZO. 2010 saw Tro Santafé returning to the Zurich Opera house for performances of La Cenerentola, to the Semperoper Dresden and to the Bayerische Staatsoper München for Rosina and a concert performance of Bellini’s Norma (Adalgisa) in Duisburg with Edita Gruberova which followed her success in Berlin two years before. They again performed Norma together at the Théâtre Royal de la Monnaie in Brussels conducted by Julian Reynolds. Tro Santafé then remained in Brussels for a
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new production of Massenet’s Don Quichotte (Dulcinée) staged by Laurent Pelly, conducted by Mark Minkowski, with José van Dam singing the title role. She finished the season with performances of Isabella at the Wiener Staatsoper, followed by concert performances of Donizetti’s Lucrezia Borgia (Orsini) at the Semperoper in Dresden, Köln Konzerthalle and Klangvocal Musikfestival Dortmund with Edita Gruberova, which was recorded (Nightingale).
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Season 2010 – 11 began with Tro Santafé’s debut at the Grand Théâtre de Genève as Rosina in a new production by Damiano Micheletto of Il barbiere di Siviglia counducted by Alberto Zedda. She then appeared at the Royal Festival Hall, London for a concert performance and recording (Opera Rara) of Rossini’s Aureliano in Palmira (Arsace) with the London Philharmonic Orchestra conducted by Maurizio Benini, with further performances of Rosina at the Wiener Staatsoper. 2011 started with a new production of Mozart’s Così fan tutte (Dorabella) staged by Philipp Himmelmann and conducted by Teodor Currentzis in the Festspielhaus Baden-Baden, and Mozart’s Requiem in the same venue with the Balthsar-Neumann-Chor and Ensamble. This was followed by a gala performance of Isabella at Staatsoper Hannover before returning to the Bayerische Staatsoper München to debut Donizetti’s Lucrezia Borgia (Orsini) in performances of the Christof Loy production opposite Gruberova and Charles Castronovo and her
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debut at the La Scala in Milan with Isabella in Rossini’s L’italiana in Algeri conducted by Antonello Allemandi. Santafé finished the season with more performances of Orsini opposite Gruveroba and Pavol Breslik conducted by Paolo Arrivabeni during the Munich Opera Festival.
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During the season of 2011- 2012 Tro Santafé made her role debut as Arsace at the Teatro di San Carlo in Naples with a new production of Rossini’s Semiramide staged by Luca Ronconi and conducted by Gabriele Ferro. She went on to sing La Cenerentola in Beijing at the National Centre for the Performing Arts followed by a new production of Donizetti’s Linda di Chamounix (Pippo) staged by Emilio Sagi, conducted by Marco Armiliato singing with Diana Damrau and Juan Diego Flórez in Barcelona. This was followed a concert performance of Rossini’s La Donna del Lago (Malcom) in Moscow at the Tchaikovsky Concert Hall. Tro Santafé returned to the Dutch National Opera for a new production of Handel’s last opera Deidamia (Ulisse) produced by David Alden and conducted by Ivor Bolton, recorded for DVD and made her debut with the San Diego Opera in a production of Il barbiere di Siviglia.
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2012–present
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The next decade began with Tro Santafé’s return to the Grand Théâtre de Genève for a revival of the 2010 Il barbiere di Siviglia production, followed by a concert in Moscow of Rossini’s Petite Messe Solennelle conducted by Alberto Zedda, and Falla’s Sombrero de tres picos with the Oslo Philharmonic conducted by Enrique Mazzola. Tro Santafé also returned to the Deutsche Oper Berlin for Il Barbiere di Siviglia followed by a new production of Donizetti’s Lucrezia Borgia (Orsini) at the Théâtre Royal de la Monnaie in Brussels, staged by Guy Joosten and conducted by Julian Reynolds. She sang a Gala performance of Il Barbiere di Siviglia at the National Theater Manheim and made her debut in Verdi’s Requiem at the Laeiszhalle in Hamburg conducted by Simone Young. She finished the season with a new production of Mozart’s Lucio Silla (Cecilio) staged by Claus Guth at the Gran teatre del Liceu in Barcelona. The 2013-2014 season started with Tro Santafé's debut at the Teatro Massimo di Palermo
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in a production of Il barbiere di Siviglia conducted by Stefano Montanari, which was followed by further Rosinas at the Deutsche Oper in Berlin, Rossini’s L’italiana at the Opéra Grand Avignon, and also at the Palau de les Arts Reina Sofia in Valencia. She returned to Moscow for Bellini’s La Straniera (Isoletta) in a concert performance at the Tchaikovski Concert Hall in Moscow conducted by Julian Reynolds, singing with Patrizia Ciofi. Tro Santafé then made her role debut in Bellini’s I Capuleti e i Montecchi (Romeo) at the Bayerische Staatsoper conducted by Riccardo Frizza which was followed by more Rosinas at the Semperoper Dresden, finishing the season with further performances of Lucrezia Borgia in the Munich Opera Festival.
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The season 2014 – 2015 started with her role debut as Elisabetta I in Donizetti’s Maria Stuarda in a new production staged by Moshe Leiser and Patrice Caurier counducted by Maurizio Benini, appearing with Javier Camarena and Joyce DiDonato at Gran Teatre del Liceu in Barcelona followed by Rossini’s Stabat Mater with the Royal Liverpool Philharmonic. The 2015 – 2016 season saw Tro Santafé appearing for the first time in Donizetti’s Roberto Devereux (Sara Nottingham) in a new production at the Teatro Real de Madrid conducted by Bruno Campanella with Mariella Devia, followed by her debut for the ABAO in Bilbao again singing Sara in Donizetti’s Devereux. Tro Santafé returned to the Bayerische Staatsoper for Orsini in Lucrezia Borgia and to the Gran Teatre del Liceu in Barcelona for Romeo in Capuleti e i Montecchi.
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In the season of 2016 – 2017 Tro Santafé was seen as Arsace in Rossini’s Semiramide at the Maggio Musicale Fiorentino, followed by Donizetti’s Maria Stuarda (Elisabetta) at the Opéra de Marseille and in a new production of Lucrezia Borgia at the Palau de les Arts staged by Emilio Sagi with Mariella Devia. She also returned to the Bayerische Staatsoper to sing Roberto Devereux (Sara Nottingham) with Edita Gruberova then made her debut at the Teatro Carlo Felice di Genova to sing Elisabetta I in Maria Stuarda. She finished the season with Werther (Charlotte) at the Ópera de las Palmas.
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Season 2017 – 2018 started with Tro Santafé’s return to the Teatro Real in Madrid to sing Cecilio in the Claus Guth production of Mozart’s Lucio Silla conducted by Ivor Bolton followed by Gluck’s Le Cinesi at the Palau de les Arts Reina Sofia in Valencia conducted by Fabio Biondi. She also sang Elisabetta in Maria Stuarda at the Deutshe Oper am Rhein, followed by her return to Bilbao for performances of Norma (Adalgisa). She finished the season with a role debut as Marguerite in Berlioz’s La Damnation de Faust in a new production staged by Damiano Micheletto, conducted by Roberto Abbado at the Palau de les arts Reina Sofia in Valencia. Season 2018 -2019 began with her role debut as Laura Adorno in Ponchielli’s La Gioconda in a new production by Oliver Py conducted by Paolo Carignani at the Théâtre Royal de la Monnaie in Brussels, where Tro Santafé also gave a recital of Spanish art song with Julian Reynolds. She then returned to the Bayerische Staatsoper for performances as Sara in
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Roberto Devereux followed by her title role debut with the Washington Concert Opera of Rossini’s Zelmira singing with Lawrence Brownlee and conducted by Antony Walker.
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2019 – 2020 - 2021 highlights included Tro Santafé’s debut as Principessa Eboli in Verdi’s Don Carlo at the Teatro Real in Madrid conducted by Nicola Luisotti, followed by Norma (Adalgisa) at the Teatro San Carlos in Naples conducted by Francisco Ivan Ciampa. During the COVID-19 crisis, she was still able to perform in Anna Bolena (Giovanna Seymore) with the Abao in Bilbao, L’italiana at Opéra Marseille and make her role debut as La Principessa di Bouillon in Cilea’s Adriana Lecouvreur at Ópera Las Palmas.
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Opera roles
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Vincenzo BELLINI Isoletta, La Straniera Romeo, I Capuleti e i Montecchi Adalgisa, Norma Hector BERLIOZ Marguerite, La Damnation de Faust Francesco CILEA Principessa di Bouillon, Adriana Lecouvreur Gaetano DONIZETTI Giovanna Seymour, Anna Bolena Maffio Orsini, Lucrezia Borgia Elisabetta I, Maria Stuarda Sara, Roberto Devereux Leonora, La Favorita Pierotto, Linda di Chamonix Georg F Handel Rinaldo Rinaldo Sesto and Tolomeo Giulio Cesare Medoro Orlando Ariodante and Polinesso Ariodante Ruggiero Alcina Amastre Serse Ulisse Deidamia Jules MASSENET Charlotte Werther Dulcinée Don Quichotte Wolfgang A. MOZART Giacinta La finta semplice Farnace Mitridate, re di Ponto Cecilio Lucio Silla Cherubino Le nozze di Figaro Zerlina Don Giovanni Dorabella Così fan tutte Alto Requiem in D minor Amilcare PONCHIELLI Laura Adorno La Gioconda Gioachino ROSSINI Ernestina L'equivoco stravagante Lucilla La scala di seta Isabella L'italiana in Algeri Arsace Aureliano in Palmira
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Rosina Il barbiere di Siviglia Angelina La Cenerentola Pippo La gazza ladra Malcolm La donna del lago Arsace Semiramide Contessa Melibea Il viaggio a Reims Zelmira Zelmira Mezzosoprano Stabat Mater Alto Petite Messe Solennelle Giuseppe VERDI Mezzosoprano Messa di Requiem Principessa Eboli Don Carlo Fenena Nabucco
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Recordings Operas 1994 - Bretón - La verbena de la Paloma; with Antoni Ros-Marbà conducting Orquesta Sinfónica de Madrid, Auvidis - V 4725 2004 - Handel - Serse as Amastre; with William Christie conducting Les Arts Florissants, Erato Records - 9029590062 2004 - Scarlatti - Griselda Op.114 as Ottone; with René Jacobs conducting Akademie für Alte Musik Berlin, Harmonia Mundi - HMM93180507 2012 - Rossini - Aureliano in Palmira as Arsace; with Maurizio Benini conducting London Philharmonic Orchestra, Opera Rara - ORC46 2012 - Donizetti – Lucrezia Borgia as Maffio Orsini; with Andriy Yurkevich conducting WDR Rundfunkorchester Köln, Nightingale Classics -NC000100-2
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Albums 2000 - Rossini: Soireé musicale, accompanist Julian Reynolds. Globe - GLO 6050 2001 - A Spanish Song Recital, accompanist Julian Reynolds, with songs composed by Fernando Obradors, Enrique Granados, Joaquín Turina, Joaquín Rodrigo, Jesús Guridi and Xavier Montsalvatge. Globe - GLO 5203 2008 - Spanish Heroines, with Orquesta Sinfonica de Navarra, conducted by Julian Reynolds, with songs composed by Rossini, Mozart, Donizetti, Verdi, Bizet and Massinet. Signum Classics - SIG 152 2009 - Rossini Mezzo - Scenes & Arias, with Orquesta Sinfonica de Navarra & Lluís Vich Vocalis, conducted by Julian Reynolds. Signum Classics - SIG 170 2010 - Massenet: Don Quichotte, with Orchestre et Choeurs de La Monnaie, conducted by Marc Minkowski. NAÏVE - DR2147 2012 - Handel: Deidamia, with Concerto Koln and De Nederlandse Opera, conducted by Ivor Bolton, directed by David Alden. Opus Arte - OABD7110D
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2016 - Donizetti: Roberto Devereux, with Teatro Real de Madrid, conducted by Bruno Campanella. Bel Air Classiques - BAC 130 2018 - ''Mozart: Lucio Silla, with Orchestra and Chorus of the Teatro Real de Madrid, conducted by Ivor Bolton, directed by Claus Guth. Bel Air Classiques - BAC 450
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Notes References Further reading Bach Cantatas Website https://www.bach-cantatas.com/Bio/Tro-Santafe-Silvia.htm External links Official website 1970 births Living people Spanish operatic sopranos Spanish women musicians Alumni of Birkbeck, University of London Operatic mezzo-sopranos Women opera singers Erato Records artists Naïve Records artists
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Pedro Segundo Mardones Lemebel (21 November 1952 – 23 January 2015) was an openly gay Chilean essayist, chronicler, and novelist. He was known for his cutting critique of authoritarianism and for his humorous depiction of Chilean popular culture, from a queer perspective. He was nominated for Chile's National Literature Prize in 2014. He died of cancer of the larynx on 23 January 2015 in Santiago, Chile. Life
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Early career Lemebel was born in El Zanjón de la Aguada, a poor neighborhood in Santiago on the banks of Zanjón de la Aguada, an irrigation canal that flows into the Mapocho river; to the family of Pedro Mardones Paredes and Violeta Lemebel. In the late 1980s, he chose to be identified by his mother's surname, Lemebel, as his choice for surname instead of his father's (Mardones), as is the norm in most Latin American countries. He attended an industrial school of carpentry and metal forging at the Industrial de Hombres de La Legua High School and later studied plastic art at University of Chile's Art School. He subsequently became a high school art teacher but was let go based on the presumption of his homosexuality.
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Lemebel attended writing workshops to hone his skills and network with other writers, his first writing recognition was in 1982, when he won an award for his short story, Porque el tiempo está cerca. In 1986, he published as his first major work, the book Incontables, a compilation of short stories under the feminist publication label, Ergo Sum. A year later, he co-founded a performance collective that used the tactics of intervention and disruption of events to raise public consciousness about the struggles of minorities in Chile. The disruption and performances of the collective brought Lemebel into public limelight in Chile. In 1986, he disrupted a meeting of Chile's left wing groups opposed to Augusto Pinochet's dictatorship. He entered the meeting in high heels and with makeup on his face depicting an hammer and sickle extending from his mouth to his left eyebrow. At the event, he spoke about his manifesto, ‘Manifest: I Speak for my Difference’ criticizing homophobia in left wing
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politics.
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Lemebel was widely known as a communist. Being distant from the Communist Party, he was a close friend of its leader, Gladys Marín, until her death in 2005. Yeguas del Apocalipsis In 1987, Lemebel co-founded a group with Francisco Casas, poet, artist and student of literature. The duo called the group "The Mares of the Apocalypse,"or "Yeguas del Apocalipsis," a reference to the biblical "Horsemen of the Apocalypse" that appear in the New Testament. This performing duo made appearances sabotaging book launches, art expositions and even political discussions. Their appearances were usually surprising, provocative and demonstrated an aspect of counter culture.
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Around this time he decided to abandon his paternal last name, Mardones, and begin using that of his mother, Lemebel. In an interview the writer would explain his choice of name change as the following, "Lemebel is a gesture of femininity, to engrave a maternal last name, to acknowledge my (washer) mother in light of the illegality of homosexual(s) and transvestite(s)." The first intervention/performance of "The Mares of the Apocalypse" was the afternoon of October 22, 1988, during the second installment of the Pablo Neruda prize to poet Raúl Zurita in La Chascona. In the middle of the ceremony, Lemebel and Casas appeared offering Zurita a crown of thorns that the poet did not accept.
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In 1989, both Lemebel and Casas recreated a series of vignettes under the direction of Mario Vivado. The portraits later became part of an exhibition at the D12 Gallery in Chile. Casas and Lemebel posed as Buster Keaton, Marilyn Monroe, the sisters from Garcia Lorca's La Casa de Bernarda Alba and other icons of the Chilean gay community. In the 1990s, Lemebel returned to writing and published a string of urban chronicles.
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The next year they appeared in the Cariola theater during a meeting of intellectuals with presidential candidate Patricio Aylwin, whom the following year would be elected the first president of Chile after the restoration of democracy and the end of the dictatorship. Although uninvited, Lemebel and Casas arrived wearing heels and feathers bearing a sign that said "Homosexuals for change." In addition to that, Casas rushed over to, at the time candidate for senator and future Chilean president, Ricardo Lagos and kissed him on the mouth. A photograph of this event was included years later in his book Háblame de Amores(2012).
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Both writers often turned into agents of their own text and created an interpretation from homosexual reality and an interruption of institutional discussions during the age of the dictator. Their work crossed over into performances, transvestism, photography, video and various art installations. With these they would advocate for a place for memory, human rights and sexuality in democratic talks. "Maybe the first experiment with plastic, the action of art...was decisive in the move from story to chronicle. It's possible that this corporal exposition in a religious frame was evaporating the generic form of the story...the timeless story to make for oneself and urgent chronicle..." explained Lemebel. In 1994, Lemebel participated in the stonewall festival in New York, an LGBT pride festival.
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In between 1987 and 1995, "The Mares of the Apocalypse" carried out at lease fifteen public interventions and in total no more than twenty. The majority of these events were in Santiago but some were also in Concepción, Chile. Some of their public demonstrations included dancing the Cueca on broken glass, dressing up as Frida Kahlo and they even dressed up as Lady Godiva and rode around naked on white horses for the art department at the university of Chile.
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In 1995, Lemebel published (in addition to his first book titled La Esquina es mi corazón) his first collection of Chronicles some of which had their first appearances in newspapers and magazines titled "Página Abierta," "Punto Final," and "La Nación." In these chronicles Lemebel referenced the many marginalized setting of Santiago which he linked to themes of homosexuality, prostitution and poverty, some of which were taboo to talk about at the time. The following year he created the program "Cancionero" for the radio show "Radio Tierra." In this program he would read his chronicles accompanied by sounds or even music. That same year he published "Loco afán: Crónicas de si dario," his second book of chronicles that spoke about themes like AIDS and the marginalization of transvestites.
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In 1997, in some of their final appearances "The Mares of the Apocalypse" were invited to Bienal de la Habana, in Habana Cuba. In 1998 he published his third book of chronicles titled "De Perlas y Cicatrizes" which was composed mostly of the stories he told on the radio program. After the arrest of Augusto Pinochet in a London hospital, he created "The Clinic" whose editor Patricio Ferrández he asked to leave everything in it uncensored. Urban chronicles and other writings
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Earlier in his career, Lemebel had attended workshops of the Society of Chilean Writers and gained the friendship of some feminist writers such as Pia Barros who later helped published his first book, Incontables. He returned to writing in the 1990s starting with series of urban chronicles that was published in Chilean newspapers, magazines and read on the radio. In 1995 and 1996, Lemebel wrote two books in a chronicle and hybrid literary style, a combination of reportage, memoir, public address, fiction and socio-political historical analysis. In 1995, he published La Esquina es mi corazón: Crónica urbana (The Corner is My Heart), writing about Chilean history from the perspectives of young adults raised in poor neighborhoods and those who are stigmatized socially. In 1996, he published El Loco Afán: Crónicas de Sidario (Mad Urge: AIDS Chronicles), a piece of 31 short texts and images that detailed the journey of a group of marginalized gay youths in Chile through the period of
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dictatorship to the outbreak of AIDS. Lemebel was given a Guggenheim Foundation scholarship in 1999 for his literary accomplishments leading to increase appearances in forums and seminars in Chile and US.
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He gained international recognition with his novel Tengo miedo torero which was the first book translated into English. In 2013, he was given the José Donoso Award. He died of laryngeal cancer in January 2015. International Recognition In 1999, thanks to the influences of his friend, Chilean writer Roberto Bolaño, who had immigrated to Europe from Mexico in 1977 and has since lived in Spain, his book Loco Afán: Crónicas de Sidario was published for the editorial "Barcelonesa Anagrama," becoming his first work in the foreigner. Since then, his written work began to attract the interest in various universities and international educational institutions. That same year he also participated in Festival of Guadalajara, Mexico, in replacement of Bolaño who had rejected the offer, and accepted praise for his work of the famous write Carlos Monsiváis.
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In 2001 he published his first novel Tengo Miedo Torero a difficult story of contextualized love during the attempt on the life of Augusto Pinochet (September 7, 1986). For the presentation of the book, Lemebel arrived in a red dress with a feathered headdress, at a ceremony with many people that was public with politicians, filmmakers, journalists and a few writers. The book would later gain international recognition after being translated into English by Katherine Silver, then French and Italian.
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In 2003 he continued his work as a journalist, publishing his anthology of Chronicles Zanjón de la Aguada, that spoke of the gay community in neighborhoods of distinctive social classes in Santiago and where appeared some real people like the social leader and president of the Agrupación de Familiares de Detenidos Desaparecidos (AFDD) Sola Sierra. This work was followed a year later by Adios Mariquita Linda, another anthology of chronicles that maintained the same tendencies of his previous works. In 2008 his sixth book of chronicles appeared, titled Serenata Carfiola. On November 29, 2012, Lemebel participated in the "Feria del Libro de Guadalajara," publishing his new book of chronicles, titled Háblame de amores, showing a dramatization of his work "Susurrucucu Paloma." On September 4, 2013, Lemebel was awarded the "Premio José Donoso," which he dedicated to his mother, the deceased Gladys Marín, and his readers belonging to the working class.
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List of works La esquina es mi corazón Loco afán: Crónicas del sidario (chronicles). Santiago: LOM, 1996. De perlas y cicatrices (chronicles). Santiago: LOM, 1998. Tengo miedo, torero (novel). Santiago: Grupo Editorial Planeta, 2001. (translated as My Tender Matador by Katherine Silver, published by Grove in 2005) La esquina es mi corazón (chronicles). Santiago: Seix Barral, 2001. Zanjón de la Aguada. Santiago: Seix Barral, 2003. Adiós, mariquita linda. Serenata cafiola. Háblame de amores. Poco hombre. Mi amiga Gladys. Tengo miedo torero (script), 2015. (translated as My tender Matador for the film based on his homonymous novel) Unedited Works and Posthumous Publications
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In an interview in 2013, during the publication of the anthology Poco Hombre , Pedro Lemebel announced he was working on two literary projects that would soon see the light and then, after his death, they were truncated: one of them is Mi Amiga Gladys, a book of chronicles about Gladys Marín, leader and representative of the Communist Party of Chile and was deceased in 2005. Josephina Alemparte, editor of Seal Planet, declared that the book was going to be presented in the book fair of Santiago but for health reasons this was postponed. Finally, the Planet editorial published the book the second of November in the year 2016. At the end of the same month they published Arder, a book that is compiled of images of the homonymous exposure and that extensively gathered his audio visual work.
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Likewise he also announced the publication of a box set of all his books since La Esquina es mi corazón(1995) and until Háblame de Armores(2012) (possibly including Mi Amiga Gladys(2016) and a documentary addressed to Joanna Reposi, that contains seven years of records. Another book that was found was titled El Éxtesis de Delinquir, that would be his second book since Tengo Miedo Torero (2001). This work centers in the history of Patricio Egaña, who provided drugs to Claudio Spiniak. Since the year 2011 he began to mention in interviews that he was writing a new novel intended for release in 2016 or 2017 to be published by the Planet editorial.
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Awards and Prizes 1983: First Prize in the Contest of the Compensation Fund of Javier Carrera for "Porque el tiempo está cerca" 1999: Guggenheim Fellowship 2002: Nominated for the Altazor Award for "Tengo miedo torero" 2004: Nominated for the Altazor Award for "Zanjón de la Aguada" 2006: Nominated for the Altazor Award in Literary Essay for "Adiós, mariquita linda" 2006: Anna Seghers-Preis 2006: Nominated for the Altazor Award for the theatrical version of "Tengo miedo torero" 2013: Nominated for the Altazor Award in Essays and Memoirs for "Háblame de amores" 2013: :es:Premio José Donoso 2014: Nominated for the Altazor Award in Essays and Memoirs for "Poco hombre" 2014: Nominated for the Chilean National Prize for Literature
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Style In his works, Lemebel addresses Chilean Marginalization with some autobiographical references. With a poetic prose that is at the same time self-deprecating, consequential, refers to an "other", irreverent, over elaborate and corny, he mixes reality with fiction, which he uses to denounce the "silicone" parts of his works. His works are usually tragic-comedies and aggressive, in constant rejection of right wing politics and the Chilean upper class.
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Mexican writer Carlos Monsiváis associates his aesthetic criticisms with those of Néstor Perlongher, Joaquín Hurtado and to a lesser extent with Reinaldo Arenas, Severo Sarduy and Manuel Puig; with the first three, for their "vindicating anger", with Sarduy for his "radical experimentation" and with Puig for his "witty incorporation and victory of proscribed sensitivity." For Monsiváis, Lemebel and all these authors, homosexuality is not an artistic identity so much as a literary attitude. Perlongher too shares a style of baroque or over elaborate writing, but Lemebel does not look to confuse anyone. In his related Chronicles about AIDS, he employs a modernist and postmodernist view that is similar to Julián del Casal, Amado Nervo and Enrique Gómez Carrillo.
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Death Pedro Lemebel died on January 23, 2015 in Santiago, Chile of laryngeal cancer. Once the news went around of his death, countless newspapers paid tribute and condolences. He was well-known and recognized for his extravagant personality and for referring to himself as a "queen." Hundreds of people from all walks of life attended his funeral service, from celebrities to politicians. His extensive efforts in breaking the norm through his unique self-expression in his written works and activism have left a lasting impact on society and are part of his legacy. His remains are buried in the Metropolitan Cemetery of Santiago. Influence and legacy Pedro Lemebel is well known for his influence in the fight for homosexual rights, his work as a writer, and his strong political side. Lemebel was much more than a writer; he was a free man, an artist, a political and popular icon, but more than anything a rebel and a voice for the homosexual community.
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Lemebel was born as Pedro Mardones Lemebel, but when he decided to take the last name of his mother, was the first big political decision that reaffirmed his commitment towards his homosexual side, a side that was later incorporated into his literary works. Lemebel was able to envisage a hidden reality of homosexuals; he was able to unmask the violence of which homosexuals were victims in Chile. The importance of Pedro Lemebel is not only value for his talent as a writer, but also as a person full of defiance in a conservative and machista country. Óscar Contardo describes Lemebel as a “popular figure: a figure that is supposed to be disgusted in our society, which is the "loca" (queen), he managed to make that figure as the center, and then transform it into a popular icon."
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Although Lemebel was never a formal militant, he was a follower of PC (partido comunista/Communist party). Until his death, Lemebel work in his book that revealed his friendship with the deceased Gladys Marin, titled "Mi querida Gladys." Daniel Alcaíno, friend of Lemebel, believes that beyond politics, Lemebel's legacy was other. “Beyond the left wing and politics, he was an institution. Pedro was heavily connected with the color red, but not with the red of the political party, but with the red of blood. Blood of the humble and simple people. That is what he is remember for.” He was profiled in the 2019 documentary film Lemebel, by filmmaker Joanna Reposi Garibaldi. Notes
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Further reading Farewell Sweet Ladybird: A Manifesto and Three Chronicles by Pedro Lemebel (1952–2015) Cordite Poetry Review Henri Billard, "Amour et culture populaire: armes de lutte politique dans le roman Je tremble, Ô Matador de Pedro Lemebel". Entre jouissance et tabous, les représentations des relations amoureuses et des sexualités dans les Amériques, sous la direction de Mariannick Guennec, Rennes, Presses Universitaires de Rennes, 2015, pp. 125–132 () Henri Billard, "Y la mariquita le dijo al torero... Pedro Lemebel, figura de resistancia cultural", L'écriture de Pedro Lemebel, Nouvelles pratiques identitaires et scripturale, sous la direction de María A. Semilla Durán, Publications de l'université de Saint-Etienne, Saint-Etienne, 2012, pp. 15–25.
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Henri Billard, "Las cicatrices del margen: resistencia cultural y lucha identitaria en las crónicas urbanas de Pedro Lemebel", Éste que ves, engaño colorido, Literarias, culturas y sujetos alternos en América Latina, sous la direction de Chiara Bolognese, Fernanda Bustamante, Mauricio Zabalgoitia, Icaria, Barcelona, 2012, pp. 311–318. Henri Billard, "La pluma entre las plumas: La presencia de los pájaros en las crónicas urbanas de Pedro Lemebel", Confluencia - Revista Hispanica de Cultura y Literatura, Fall 2012, Volume 28, Number 1, University of Northern Colorado, Greeley, USA, 2012, p. 14-19 Henri Billard, "Los tajos del «cuerpo deseante» en Loco afán. Crónicas de sidario de Pedro Lemebel", Recherches, numéro 04, printemps 2010, pp. 39–48. Fernando A. Blanco (ed.), Reinas de otro cielo: Modernidad y autoritarismo en la obra de Pedro Lemebel. Santiago de Chile: LOM, 2004.
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Fernando A. Blanco y Juan Poblete (eds.) Desdén al Infortunio. Sujeto, narración y público en la narrativa de Pedro Lemebel. Santiago de Chile: Cuarto Propio, 2010. Diana Palaversich, translated by Paul Allatson "The Wounded Body of Proletarian Homosexuality in Pedro Lemebel's Loco afan" Latin American Perspectives 29.2 (March 2002): 99-118. Desdén al Infortunio. Sujeto, comunicación y público en la narrativa de Pedro Lemebel (Eds.) Blanco, Fernando A. y Poblete, Juan. 2010, Cuarto Propio: Santiago de Chile.
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External links Website devoted to Lemebel with biography etc. 1952 births 2015 deaths LGBT rights activists from Chile 20th-century Chilean novelists Chilean essayists Chilean atheists Gay writers LGBT writers from Chile Chilean communists Deaths from laryngeal cancer Deaths from cancer in Chile Male essayists 21st-century Chilean novelists Chilean male novelists Writers from Santiago 20th-century essayists 20th-century Chilean male writers 21st-century Chilean male writers
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Bonaparte Crossing the Alps (also called Napoleon Crossing the Alps, despite the existence of David's more well-known painting with that name) is an 1848–1850 oil-on-canvas portrait of Napoleon Bonaparte, by French artist Paul Delaroche. The painting depicts Bonaparte leading his army through the Alps on a mule, a journey Napoleon and his army of soldiers made in the spring of 1800, in an attempt to surprise the Austrian army in Italy. The two main versions of this painting that exist are in the Louvre in Lens and the Walker Art Gallery in Liverpool, England. Queen Victoria also obtained a reduced version of it.
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The work was inspired by Jacques-Louis David's series of five Napoleon Crossing the Alps paintings (1801–1805). David's works also show Napoleon's journey through the Great St. Bernard Pass, but there are significant stylistic differences between the two conceptions. Delaroche's Napoleon is cold and downcast, whereas David's wears a pristine uniform, and is idealized as a hero. Delaroche was commissioned to paint a realistic portrait; the style of which was emerging at the time. While the painting largely represented—and was one of the pioneers of—an emerging style, the work was criticised by several authorities on the subject. The reasons for this varied from Delaroche's depiction of the scene to a general disapproval of Delaroche himself. Many of those who were in the latter state of mind felt that Delaroche was trying to match the genius of Napoleon in some way, and had failed miserably in doing so. Background
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Historical background As part of his 1798 campaign during the French Revolutionary Wars, Napoleon prepared to invade and conquer Egypt, which was at the time a province of the Ottoman Empire. Such a military action promised numerous benefits, including securing French trade interests, and inhibiting British access to India. By 1 July 1798, Napoleon had landed on the shores of Egypt. After a lengthy chain of conflicts with heavy casualties, the campaign resulted in an Ottoman-British victory. Napoleon received news from France that Austrian forces had retaken Italy and he decided to return to Paris.
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In order to regain the upper hand, he planned to launch a surprise assault on the Austrian army stationed in the Cisalpine Republic. Based on the assumption the Austrians would never expect Napoleon's large force to be able to traverse the Alps, he chose that as his route. He selected the shortest route through the Alps, the Great St Bernard Pass, which would enable him to reach his destination as quickly as possible. On 15 May 1800, Napoleon and his army of 40,000—not including the field artillery and baggage trains—(35,000 light artillery and infantry, 5,000 cavalry) began the arduous journey through the mountains. During the five days spent traversing the pass, Napoleon's army consumed almost 22,000 bottles of wine, more than a tonne and a half of cheese, and around 800 kilograms of meat.
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Following his crossing of the Alps, Napoleon commenced military operations against the Austrian army. Despite an inauspicious start to the campaign, the Austrian forces were driven back to Marengo after nearly a month. There, a large battle took place on 14 June, which resulted in the Austrian evacuation of Italy. Delaroche Delaroche's early works had been based on topics from the Bible's Old Testament, but gradually his interests switched to painting scenes from English and French history. He 'combined colouristic skill with an interest in detailed scenes from history'.Bonaparte Crossing the Alps, which was painted roughly eight years before Delaroche's death, exemplifies this phase in Delaroche's career.
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The commissioning aside, Delaroche was inspired to create Bonaparte Crossing the Alps because he felt that he both looked like Napoleon, and that his achievements were comparable to Napoleon's. It is likely that Delaroche's painting is relatively historically accurate; details such as Napoleon's clothes appear to have been researched by Delaroche in an effort at authenticity. Painting
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Commissioning of painting The Liverpool painting was commissioned by Arthur George, Third Earl of Onslow, after Delaroche and George reportedly visited the Louvre in Paris, where they saw David's version of the famous event. It had only recently been re-hung in the museum after a resurgence of interest in Napoleon, nearly 40 years after he was exiled. Agreeing that the painting was unrealistic, George, who owned a sizable collection of Napoleonic paraphernalia, commissioned Delaroche to create a more realistic depiction. Elizabeth Foucart-Walker asserts that in fact the painting that hangs in the Louvre was produced first as it was already in America by 1850, when the Liverpool painting was produced. Stephen Bann suggests that Arthur George's meeting with Delaroche may have occurred, but Delaroche chose to produce two works that are almost identical and send one to America. The Liverpool version of the painting is more refined.
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Contrast to David's depiction The contrast between Jacques-Louis David's depiction of the same scene (of Napoleon traversing the Alps on his way to Italy), which was a flattering portrait that the king of Spain requested for Napoleon (as a gift) and Delaroche's depiction in Bonaparte Crossing the Alps is easily apparent. The first and most significant difference is in Napoleon, in his clothing, and in his general demeanour. David's version depicts Napoleon, dressed in an immaculate, multi-coloured uniform with a billowing cape. Delaroche's version, however, sees Napoleon in a fairly ordinary, gray coat with the sole purpose of keeping the cold away, rather than showing him as the symbol he may have represented – that of a gallant and powerful war leader, which is the impression given in David's version.
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However, there is another significant difference in Napoleon himself, in the way he holds himself. David's Napoleon is flamboyant, confident in his leadership of the French army, and in his ability to cross the Alps and defeat the Austrians in Italy. Delaroche's Napoleon is instead downcast, gaunt and embittered by the harsh cold. His eyes and expressionless face evidence his weariness, his tiredness a result of the long and unstable trek.
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The last properly significant difference in the two art works (excluding the actual setting, background, men seen in the distance etc.) is the difference in the animals that Napoleon rides on. In David's version, Napoleon rides a large, strong steed with a long mane, and this is one figment of David's version that is irrefutably untrue – Napoleon is known to have ridden a mule on his journey (which was borrowed from a local peasant), rather than a horse. This presence of a horse rather than a mule was one of the main grounds for Delaroche's criticism of David's version, and is the basis of Delaroche's claim that Bonaparte Crossing the Alps, which includes a mule, is a more realistic portrayal of the scene.
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Analysis Setting Napoleon is seen wearing clothing appropriate for his location: over his uniform he wears a long topcoat which is wrapped firmly around him, in which he keeps his gloveless right hand warm. He retains a piece of his dignity in the gold-trimmed black bicorne he wears on his head. The mule Napoleon rides is undernourished, tired from its ordeal in struggling through the Alps. On the left of the mule is his guide, Pierre Nicholas Dorsaz, who must constantly push himself and the mule forward, and who leans heavily on the shaft of wood he clutches in his left hand to allow himself to continue moving forward. His clothes are weather-beaten, his face ruddy from the cold. He is not allowed the luxury of riding an animal, for he must be able to navigate independently, on the ground.
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Elements of the cold, harsh environment of the Alps are apparent: distant mountains capped in snow rise up behind Napoleon and his troupe, while a steep cliff face appears on his left, and the path underfoot has a thick layer of ice. More members of Napoleon's entourage can be seen slightly behind him, their robust figures accentuating Bonaparte's fragility.
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Napoleon is shown to be as he would have been high up in the mountains, as a mortal and imperilled man. While this seems in some way demeaning to Napoleon's figure (and contrasts in the extreme with David's version, which shows Napoleon impervious to the cold, and in a heroic light), Delaroche's artwork was not intended to portray him in a hostile or unbecoming way. Delaroche wanted to depict Napoleon as a credible man, who suffered and underwent human hardship too, on his most daring exploits, and felt that making him appear as he really would have been in the situation would by no means debase or diminish Napoleon's iconic status or legacy, but rather make him a more admirable person. Artistic style
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Along with the mass of white seen behind Napoleon, the amber sunlight glow, originating from the West of Napoleon's troupe, is the central source of lighting in the painting. It introduces contrast when coupled with shadow, and, by illumination, highlights key aspects of the scene; this is particularly seen by the light that falls across Bonaparte's pigeon chest. Napoleon and the mule he is saddled on are richly textured visually by the contrasting light and shade, as is the guide leading the mule. The ice and snow layers, also, are made whiter by the sunshine from the West, brightening the whole scene. However, the overhanging cliff on the left of Napoleon's guide and the legs of the mule both cast shadows to balance the lighting scheme of the painting.
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The textural hues and schemes that Delaroche uses in this painting are quite detailed and well considered, especially in regards to the most important figures; such aspects of the work were described as being '...rendered with a fidelity that has not omitted the plait of a drapery, the shaggy texture of the four-footed animal, nor a detail of the harness on his back'. The mule, especially its fur, was intensely textured and detailed to make it look visually rough and bristly, and the mule itself weary and worn. The same techniques were applied to the red and yellow adornments draped and hung over the animal. The central detail of Napoleon is applied to his coat, in its ruffles and creases. Much detail and textural diversity is given to the guide too, most particularly to his face, his green, wind-caught tunic, and his leather boots.
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Delaroche's attention to detail and literal precision in this painting evidences and demonstrates the slow but steady evolution of realism in art during the 19th century, and how its popularity began to rise. Reception The work, despite its attempt to depict Napoleon realistically, was criticised by several authorities for a variety of reasons. A few disapproved of Delaroche's choice of painting, while others disapproved of Delaroche himself, saying, in some form, that he sought the genius of Napoleon, to no avail. Soon after its completion, the work was taken to England, and there, in 1850, it was reviewed by the critic of the Atheneum, a literary magazine. The magazine's comments on the work indicated that, while they praised the painting for several of its features, they criticised Delaroche, for various reasons:
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Some were displeased with Delaroche's work at the time in general, and, in part, Bonaparte Crossing the Alps, criticising what was described as his 'lowered standards in art'. Such critics included The Gentleman's Magazine, who wrote the following text about Delaroche: Gallery Notes
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I Bonaparte chose to ride across the alps on a mule (obtained at a convent at Martigny) rather than a steed, the typical gentleman's mount at the time, because the mule was considered to be more sure-footed on the slippery slopes and narrow passes of the Alps, and to be more sturdy and hardy while making such a perilous journey on such volatile terrain. II Napoleon ordered the assemblage of over 5,000 artillery for transport through the pass, despite the fact that the pass was widely considered to be much too narrow, and the route too volatile and unstable, to allow any form of artillery, light or heavy, to come through. Thus, Napoleon's military advisers warned him against this move, but he insisted on this presence of this great number of artillery. IIIIn addition to these figures, approximately 3,600 French men were wounded, with over 900 captured or missing, and almost 5,520 Austrians were wounded, with over 2,900 captured (missing numbers cannot be accurately estimated).
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IVThe painting was rehung as a result of the revival of Napoleon's reputation, and a fresh interest into his exploits. However, before this, in 1815, the year Napoleon was exiled, Napoleonic-themed art was proscribed for artists and painters, as he was not well liked because of events that had occurred in the few years immediately preceding 1815, and Napoleon's exile. It was only truly by the 1830s that artwork related to the emperor was being created once more. As such, after being removed from the walls of the Louvre around 1815, David's version had been re-hung by the time Delaroche observed it.
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VThe king of Spain (of the time) commissioned Jacques-Louis David's Napoleon Crossing the Alps as a friendly gesture towards Napoleon, hoping that the flattering gift would strengthen relationships between France and Spain, to the degree that Napoleon would not consider invading Spain and taking it over, after he became emperor. However, the king of Spain's attempt failed, and, soon after Napoleon crowned himself emperor, he crossed the Pyrenees and conquered Spain. VIThe Athenæum was a widely read literary magazine or periodical that was published in London between 1828 and 1923. Published weekly, the Athenæum grew and expanded to become one of the most influential and most widely read periodical of the Victorian era. Most of its content was composed of articles, reviews, and scientific and political news, among others. The topics covered in these texts included works of literature, fine art, music and theatre, science and politics.
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Citations
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References Literature Abbot, J. S. C. Napoleon Bonaparte. Kessinger Publishing, 2004. Alison, A. History of Europe from the Commencement of the French Revolution in MDCCLXXXIX to the Restoration of the Bourbons in MDCCCXV. W. Blackwood and sons, 1854. Britt, A.B. The Wars of Napoleon. Square One Publishers, Inc., 2003. . Bunbury, H.E. Narratives of some passages in the great war with France, from 1799 to 1810. 1854. Chandler, D. G. Napoleon. Leo Cooper, 2002. . Clancy-Smith, J.A. North Africa, Islam and the Mediterranean World: From the Almoravids to the Algerian War. Routledge, 2001. Clubbe, J. Byron, Sully, and the Power of Portraiture. Ashgate Publishing, Ltd., 2005. Dodge, T.A. Napoleon: A History of the Art of War. Adamant Media Corporation, 2001. El-Enany, R.; Inc NetLibrary Arab Representations of the Occident East-west Encounters in Arabic Fiction. Routledge, 2006.
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Foucart-Walter, E. Paul Delaroche et le thème du passage du Saint-Bernard par Bonaparte pp. 367–384 in La Revue du Louvre No 5-6 1984 Herold, J.C. The Age of Napoleon . Houghton Mifflin Books, 2002. . Jefferies, F. The Gentleman's Magazine. Published 1856. Kelley, T.M. Reinventing Allegory. Cambridge University Press, 1997. The American Whig Review, by the Making of America Project. Published first in 1845. Mason, D.S. Revolutionary Europe, 1789–1989: Liberty, Equality, Solidarity. Rowman & Littlefield, 2005. Murray, C.J. Encyclopedia of the Romantic Era, 1760–1850. Taylor & Francis, 2004. Quilley, G.; Bonehill, J. Conflicting Visions: War and Visual Culture in Britain and France, C. 1700–1830 Ashgate Publishing, Ltd., 2005. . Thiers, M.A. History of the Consulate and the Empire of France Under Napoleon. Kessinger Publishing, 2005. . Tuckerman, H.T. Poems. Ticknor, Reed, and Fields, 1851.
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Walther, I.F.; Suckale, R. Masterpieces of Western Art: A History of Art in 900 Individual Studies Taschen, 2002.
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Other DELAROCHE, Paul – Bonaparte Crossing the Alps Bonaparte Crossing the Alps, 1848, Paul Delaroche (1797–1856) Bonaparte Crossing the Alps''; Delaroche, Paul; 1848 External links Zoomable image of the artwork Paintings by Paul Delaroche 1848 paintings Paintings of Napoleon Paintings in the collection of the Walker Art Gallery Paintings in the Louvre by French artists Paintings in the Royal Collection of the United Kingdom Horses in art
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Glastonbury is a town in Hartford County, Connecticut, United States, formally founded in 1693 and first settled in 1636. The town was named after Glastonbury in Somerset, England. Glastonbury is located on the banks of the Connecticut River, southeast of Hartford. The town center is defined by the U.S. Census Bureau as a census-designated place (CDP). The population was 35,159 at the 2020 census. History In 1636, 30 families were settled in Pyaug, a tract of land belonging to Wethersfield on the eastern bank of the Connecticut River, bought from the Native American chief Sowheag for of trading cloth. In 1672, Wethersfield and Hartford were granted permission by the General Court to extend the boundary line of Pyaug to the east. By 1690, residents of Pyaug had gained permission from Wethersfield to become a separate town and, in 1693, the town of Glassenbury was created.
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The ties have not been completely broken: the oldest continuously operating ferry in the United States still runs between South Glastonbury and Rocky Hill, also then part of Wethersfield, as it did as far back as 1655. One result of being split off from Wethersfield was that the town was built along a main road, rather than around the large green that anchors most New England towns. After part of New London Turnpike was realigned to eliminate the rotary in the middle of town during the mid-20th century, a small green was established there. During the American Revolutionary War, several homes were used to hold classes from Yale University. Noah Webster was a student in these classes; later he taught at one of Glastonbury's one-room schoolhouses.
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Glastonbury freed its slaves in the 1780s, 60 years before Connecticut formally abolished slavery. The town organized its first library in 1803. It organized the first hospital shortly after the Revolution to combat and treat smallpox. By the end of the Revolution, there were ten schools, formed one by one during the 18th century. During the American Revolution, George Stocking's gunpowder factory operated in the town. In 1785, the town residents renamed Glassenbury to Glastenbury. In the 18th and early 19th centuries, Glastenbury was a shipbuilding town. Located on the Connecticut River, it had reliable waterpower and nearby hardwood forests of oak. Sawmills, charcoal kilns, and foundries developed around the shipyards to process timber and other goods for their needs.
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As shipbuilding was ending, the early industrial beginning continued. The J.B. Williams Soap Factory started in 1840 in James B. Williams' drugstore in Manchester, where he experimented with chemical formulas for shaving soap. When he had produced a formula that satisfied him, he moved his business to Glastonbury. Two years later, he was joined by his brother, William Stuart Williams. They formed what is believed to be the first commercial soap manufacturing business in the world. Although shaving soap was their first product, they also made ink and shoe blacking. Products made by the J.B. Williams Company included Williams 'Lectric Shave and Aqua Velva. Over time, J.B. Williams expanded to Montreal (around 1922), England, and Argentina. When the business was sold in 1957, ten former employees organized Glastonbury Toiletries and continued operation into the 1970s. J. B. Williams Park, on Neipsic Road, is named for James B. Williams.
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Remaining parts of the industrial complex have been adapted for use as the Soap Factory Condominiums. Another portion was occupied by the Glastonbury Board of Education office and is now occupied by a translation company. In 1870, the name of the town was changed from Glastenbury to Glastonbury, with a spelling to match Glastonbury, England. During the World Wars, Glastonbury factories supplied leather and woolen goods to the military of Belgium, France, Great Britain, Italy, and the United States. In addition, Glastonbury has been a center for feldspar mills, cotton mills, paper mills, and silver plate factories. It also had an airplane building industry.
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J.H. Hale Orchards began operations in 1866 in Glastonbury. John Howard Hale became known as the Peach King for developing a peach that could withstand New England winters and was disease resistant, as well as for the large, national scale of his operations. He also had land in Georgia and was the first Glastonbury industry to establish a branch outside the state. A marketing pioneer, Hale shipped peaches to markets all over the country. The orchard that started with in 1866 grew to more than by 1900. John Hale never went beyond grade school, but he initiated the founding of Storrs Agricultural College, now the University of Connecticut. He helped to organize the Glastonbury Grange and the State Grange. His home, at the intersection of Main Street and Route 17, has been adapted in the 20th century for use first as a restaurant and, more recently, for business offices.
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Henry Saglio began a pioneering effort to breed a white chicken, because black pinfeathers were difficult to pluck from a bird headed for the dinner table. In 1948, the Saglio Brothers formed Arbor Acres and produced a broiler chicken that A&P Food Stores awarded the title "Chicken of Tomorrow". By 1958, Arbor Acres was selling globally. Today the brand is owned by Aviagen. In 1977, Henry Saglio was inducted into the Poultry Hall of Fame. Glastonbury was also a major grower of broad-leaf tobacco. This agricultural tradition is carried on by the orchards and berry farms on its hills. In 1993, Billy Joel filmed part of his music video for his song "The River of Dreams" in a barn in South Glastonbury. The music video also has a scene with the Rocky Hill-Glastonbury Ferry.
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Historical houses Glastonbury is the town with the second-highest number of genuine colonial houses in the United States. The town has 154 houses built before 1800; only Marblehead, Massachusetts, has more, with over 200. Newport, Rhode Island, has over 300, but it is a city, not a town. Four houses in Glastonbury are from the 1600s. The town's oldest house, the John Hollister House, was built around 1675. It is one of the five oldest houses in Connecticut, and is also one of the oldest houses in the United States. Geography and climate According to the United States Census Bureau, the town has a total area of , of which is land and , or 1.76%, is water. The Glastonbury Center CDP has a total area of , of which 3.30% is water.
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The town begins on the banks of the Connecticut River and extends up into foothills, many of which provide a view of Hartford's skyline. Some major developments in the town are built entirely on relatively steep hills, such as "Minnechaug Mountain", the major residential area developed from the 1970s until late '90s. Part of Glastonbury resides in an area called "Kongscut Mountain", locally called "Rattlesnake Mountain", because it has a small population of timber rattlesnakes. Since that area is sparsely developed and mostly in a state forest, the snakes don't pose much of a threat. The town boasts a small private lake named Diamond Lake, which is surrounded by growing subdivisions of large homes. Access to the lake is limited to members of the Diamond Lake Property Owners Association. Glastonbury has one of the largest state forests, Meshomasic State Forest, a popular area for hiking, fishing, and hunting.
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Glastonbury borders the town and cities of East Hartford, Wethersfield, Rocky Hill, Cromwell, Portland, East Hampton, Marlborough, Hebron, Bolton, and Manchester. Climate The town center experiences a humid continental climate (Dfa). However, the rural parts of the town, at an elevation of 800 feet near Bolton and Hebron, experience a colder climate which straddles the (Dfa) and (Dfb) lines. Principal communities Addison Buckingham East Glastonbury Glastonbury Center Hopewell South Glastonbury Demographics
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As of the census of 2000, the racial makeup of the town was 93.10% White, 1.53% African American, 0.15% Native American, 3.40% Asian, 0.01% Pacific Islander, 0.91% from other races, and 0.89% from two or more races. Hispanic or Latino of any race were 2.51% of the population. There were 31,876 people, 12,257 households, and 8,984 families residing in the town. The population density was 620.5 people per square mile (239.6/km2). There were 12,614 housing units at an average density of 245.5 per square mile (94.8/km2). There were 12,257 households, out of which 1% had children under the age of 18 living with them, 63.7% were married couples living together, 7.5% had a female householder with no husband present, and 26.7% were non-families. 22.6% of all households were made up of individuals, and 8.8% had someone living alone who was 65 years of age or older. The average household size was 2.57 and the average family size was 3.06.
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In the town, the population was spread out, with 26.8% under the age of 18, 4.1% from 18 to 24, 29.0% from 25 to 44, 27.4% from 45 to 64, and 12.7% who were 65 years of age or older. The median age was 40 years. For every 100 females, there were 90.1 males. For every 100 females age 18 and over, there were 86.5 males. The median income for a household in the town was $80,660, and the median income for a family was $94,978. Males had a median income of $68,083 versus $43,810 for females. The per capita income for the town was $40,820. About 1.5% of families and 2.1% of the population were below the poverty line, including 1.8% of those under age 18 and 4.6% of those age 65 or over. Economy Top employers Top employers in Glastonbury according to the town's 2019 Comprehensive Annual Financial Report Government and politics
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Notable people Samuel J. Battle, first black police officer in the NYPD, lived and worked in East Glastonbury in 1899 upon coming north from North Carolina Candace Bushnell, author, journalist and television producer Gideon Welles, Secretary of the Navy under Abraham Lincoln Thomas Welles, Governor of Connecticut in 1658 and 1659 Transportation
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The major highway in Glastonbury is Connecticut Route 2, serving the town with six exits. Connecticut Route 3 only has the Main Street exit in Glastonbury. The expressway then follows its westward route across the Putnam Bridge into Wethersfield before connecting with Interstate 91. Route 17 has two exits in Glastonbury: the New London Turnpike and Hubbard Street. It then reduces to a surface street, merging with Main Street in South Glastonbury. The 95 (formerly O) route of Connecticut Transit (CT Transit) buses runs between downtown Hartford and Glastonbury, usually terminating at the corner of Main Street and Hebron Avenue. The 91 (formerly X) route travels between Wethersfield and the Buckland Hills area in Manchester via the Somerset Square Shopping Center. The 904-Glastonbury Express route conveniently operates into Putnam Bridge, St. Paul's, and St. Augustine's Park & Ride lots.
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The Rocky Hill–Glastonbury ferry operates between May 1 and October 31. It is the oldest continually operating ferry in the United States, dating back to 1655. Fees are $5 for a vehicle and $1 for pedestrians and bicyclists. The trip across the Connecticut River takes approximately 4 minutes.
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Schools There are five elementary schools in Glastonbury: Buttonball Lane School, Hebron Avenue School, Hopewell School, Naubuc School, and Nayaug School. A sixth elementary school, Eastbury School, closed in 2018. Each school has between 288 and 608 students. There are two middle schools in Glastonbury. Gideon Welles School has just over 500 students for the 6th grade, and Smith Middle School has 1,035 students in the 7th and 8th grades. The town's high school, Glastonbury High School, has 2,173 students, as of October 2013. Glastonbury's school system was referenced in episode 563 Act 2 of NPR's " This American Life" titled My Secret Public Plan
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Town events and activities The most notable town event is the CT River Valley Chamber of Commerce (formerly the Glastonbury Chamber of Commerce) Apple Harvest & Music Festival, or 'Apple Fest.' The festival occurs annually every October during the apple harvest season. The festival is a town-wide event lasting three days that includes live music, a 5K road race, various rides, attractions, and vendors specializing in handmade crafts. Other events include the Under a Strawberry Moon Festival in June and various events held by the local Town Center Initiative. The Glastonbury Youth and Family Services' Creative Experiences puts on annual drama productions and family events. Popular sporting events include three 5K races organized by the Glastonbury River Runners, a local running club. Founded in 2008 by Rich Baber, the club now boasts 230+ members.