Category Archives: Art

STL Symphony Presents: Pines of Rome and Special Pricing for the Italian Community

The SLSO is offering members and friends of the Italian Club of St. Louis a special ticket price of $35 for Respighi’s Pines of Rome on Saturday, March 24 at 8 pm. An optional buffet pre-party is planned at LoRusso’s on Grand at an additional cost. Tickets must be purchased through the Italian Club to receive this price. To make a reservation or for more information, contact Debbie Monolo at 314-458-5209 or at Credit cards accepted; tickets must be paid for at the time of the reservation no later than Thursday, March 15. We look forward to welcoming your group on March 24! *Limited tickets available at this special offer.


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Tammuriddara – Assummata di lu corpu di la tunnara – Navaii (medieval sicilian music)

The multiple influences that Sicily has undergone during the course of the centuries have left their imprint in the various traditions of the island. We are here discussing music, but in other fields of artistic and scientific endeavour these influences are also evident. Merely walking through some of the Sicilian villages will bring this home. For this reason, the present recording presents us with a wide range of these musical influences in medieval works. From traditions linked to the sphere of Muslim influence (it is not by chance that the CD begins and ends with a muezzin’s call to prayer) to carnival songs in the purest Mediterranean tradition. Here, perhaps, in these songs springing from the very deepest oral roots, is the most interesting part of the recording. Counterpoint is represented by a series of conductus and tropes from a manuscript copied on the island in the 12th century, preserved today in the National Library of Madrid (Ms. 19421), known as the Troparium of Catania, an interesting source which also transmits some liturgical dramas. The songs taken from this liturgical manuscript contrast stylistically with the other pieces. The instruments accompany discreetly and efficiently, but the voices almost always sound forced. In the pieces from popular tradition (such as, for example, A la viddanisca, with its incipient cantus planus binatim, a kind of simple polyphony) this timbre works well, but in the liturgical repertoire it sits strangely. On the other hand, the addition of attractive instrumental pieces and the inclusion of a jaw’s harp accord a special colour to the recording.

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‘Tuscanyness’ Film Explores the Detachment of Modern Italian Architecture and the Fight to Restore Faith in Design


 Following the evolution of architecture in Tuscany, this documentary maps out the decline of the region in the shadow of Brunelleschi and Alberti. From the 14th century onwards, Italy underwent a cultural rebirth that changed the entire world, bearing the architectural mastery of the Renaissance. However now, there appears to be a detachment within modern architecture and little work for the many architects who are being forced to emigrate.

Courtesy of 120g

Courtesy of 120g

Tuscanyness presents a dramatic portrayal of the abandonment and neglect that the region’s architecture has fallen into over the last 60 years, exploring the root causes of the problem. Interviewing a range of forward-thinking Italian architects, 120g’s documentary shares their perseverance to establish a vision of the future to recreate the spirit of the Renaissance and form a dialogue with the heritage of the country. The film covers the topic of identity, landscape, and beauty associated Tuscany’s classical and modern architecture as discussed by the architects.

Courtesy of 120g

Courtesy of 120g

Having premiered late last year, Tuscanyness has traveled around Europe and has recently been released online for the public to learn from the experiences of working in a region overshadowed by its past and the fight to restore faith in Tuscany’s contemporary architecture. The Pisa-based cultural association, 120g, has also been involved in many other projects concerning architecture both in Italyand abroad to promote interdisciplinary and transversal cultural activities between architecture, the visual arts, and engineering.

Courtesy of 120g

Courtesy of 120g

News via: 120g.


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Salvatore Scarpitta in front of #59 race car, Hagerstown Speedway, Maryland, 1987. Image courtesy Luigi Sansone.

6:00 PM

Free. Please register here.

Salvatore Scarpitta: Racing Cars follows the thirty-year trajectory of an American original, from object-maker to performance artist, from gallery to race track. This major reexamination of a seminal postwar American artist focuses on his racing-themed artwork, including his race cars—both replicas and fully functional—the largest collection ever assembled in a museum in the U.S.

Scarpitta led a remarkable life. From Hollywood High to the Accademia di Belle Arte in Rome to the Italian resistance during WWII to Leo Castelli’s gallery in New York, he’s worthy of a biopic. In the midst of it all, he helped transform American art. Lisa Melandri discusses the artist and his impact on visual culture. This event is free and open to the public.

Lisa Melandri, Director of the Contemporary Art Museum St. Louis

Lisa Melandri, Director of the Contemporary Art Museum St. Louis (CAM) talks about her background, vision for the museum, and the ability of art to change lives.

Video interview by Jorie Jacobi of STL Curator.

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Winter Opera L’elisir d’amore, is almost here!

Our final opera of the season,
L’elisir d’amore, is almost here!

The talented chorus members have been hard at work
preparing, and out of town artists arrive today with
rehearsals kicking off tomorrow.

L’elisir d’amore, Donizetti’s most performed opera, is a
comedic opera about the desperately in love, Nemorino
and the beautiful, wealthy landowner Adina. In an attempt to
win her affection, Nemorino buys a love potion from
a traveling salesman.

Will the elixir be enough to gain Adina’s love?
Or will someone else win Adina’s heart?

Join us March 9 & 11 as we watch this love story unfold!


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Italian Film Festival USA – St Louis – April 6 thru April 28, 2018


The 2018 edition brings you the best line-up of recent Italian cinema with films from award-winning directors, as well as debut films from exciting new talent.

This is your chance to see the latest and best in Italian film.

We are in the process of finalizing our line-up; please check back on March 2 for film titles and times

Enjoy sixteen recent Italian films–captivating dramas, wonderful comedies, and interesting documentaries–and a short film program at one of 90+ screenings nationwide.Mailing List
If you would like to be added to our email list to be notified of the Italian Film Festival USA in your city, please send your email address and indicate the city of interest to us at:



Thank You!
Sincere thanks to all festival sponsors for your ongoing support! If you would like to support the Italian Film Festival USA, please visit our Be A Sponsor page.







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The Venetian Carnevale: History, Paintings and Masks

Italian Club of St. Louis February Meeting
Wednesday, February 21 6:30 pm
Favazza’s Banquet Center
$30 members/$35 non-members

The Venetian Carnevale:  History, Paintings and Masks 

Dr. Cynthia Stollhans, Saint Louis University





Venice is one of the most beautiful and unforgettable cities of the world. She has been called La Serenissima,” “Queen of the Adriatic,” “City of Water,” and “City of Canals.” And, whether one visited 500 years ago or yesterday, you quickly learn that Venice is the European capital for Carnevale celebrations.

Carnevale in Venice is like no other experience. Dr. Cynthia Stollhans, Professor of Art History at Saint Louis University, will present the origins of the Carnevale celebrations as well as examine aspects of visual culture: paintings and masks. With Venetian paintings she will illustrate the Carnevale sins of seeking sexual pleasures, gambling, drinking, and throwing eggs. Often these activities were conducted while wearing a mask to hide one’s true identity. Through the years the tradition of wearing masks, often based on Commedia dell’arte characters, evolved into a popular art form which still thrives in today’s world.

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Pines of Rome at STL Symphony – Special Pricing for the Italian Community

The St. Louis Symphony is offering members and friends the Italian Club of St. Louis a special ticket price of $35 for Respighi’s Pines of Rome on Saturday, March 24 at 8 pm. An optional buffet pre-party is planned at LoRusso’s on Grand at an additional cost. Tickets must be purchased through the Italian Club to receive this price. To make your reservations or for more information contact Debbie Monolo at 314-458-5209 or at Tickets must be purchased no later than Thursday, March 15.

RIMSKY-KORSAKOV Capriccio espagnol
RAUTAVAARA Cantus arcticus
TÜÜR Solastalgia (Piccolo Concerto)
RESPIGHI Pines of Rome

Enjoy a musical voyage through Rome’s majestic hills in Respighi’s Pines of Rome, a spectacular symphonic poem explores the catacombs, flittering nightingales and a glittering sunrise over the ancient city.

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italytime presents a New Play by Dacia Maraini, Silvia Calamai and Paolo Tartamella

italytime presents a New Play by Dacia Maraini, Silvia Calamai and Paolo Tartamellaitalytime Italian Cultural Center is coming out with their first play of the season Three Eyes on Pinocchio, directed by Vittorio Capotorto to be performed at Our Lady of Pompeii Theater, 25/B Carmine Street, New York, NY 10014.

As the American Culture grew up with hero’s such as Spiderman and Batman, italytime chose to tell the story of Pinocchio to introduce an Italian hero that showcased the Italian Culture and fairytales we grew up with. The play is based on three chapters of the original story written by Collodi and published in 1880. The author Dacia Maraini, one of the most popular Italian living novelists, asked a college professor and a journalist to offer their takes on two episodes, Pinocchio Meets the Fox and the Cat & Pinocchio in Playland, while she wrote the main one, Pinocchio rescued by The Fairy. This is how Three Eyes on Pinocchio was born.

Performances will be held March 2-3-8-9-10 at 8pm.

Tickets can be found at

Vittorio asked me if I wanted to write one third of a show inspired on Pinocchio. Why one third? And very gently he answered that he already had an author who has been collaborating with him for years and that he had written a part of a text about Pinocchio. Now he needs two more parts of the story and, besides wanting me to write this one third of it, he also wants me to find him another playwright to complete the threesome. It was an interesting project with an unusual and charming quality to it. I read Paolo Tartamella’s part and I thought it could work. I asked Stefano Massini if he wanted to participate in this curious trio, but he answered that he did not have the time. So then I asked Silvia Calamai, with whom I had worked years ago in the theater of women outside of Florence, with Cristina Ghelli. Her response was positive, even though she is no longer involved in theatre because of her responsibilities teaching at the university and raising her daughter. I encouraged her to write again and I am very happy to have done so because her part in Pinocchio is beautiful and funny, with a perfect rhythm. – Dacia Maraini

An eye on Pinocchio? But what does it exactly mean, an eye on a text that followed me and my childhood and which flows me right now when I tell my children about Pinocchio? Dacia chose the right section for me, the eye which is the most suitable for me: The Cat and the Fox. Therefore, an eye on Pinocchio means, for me, imaging two playful and funny creatures who have fun in playing (and playing theatre too). – Silvia Calamai

I was the lucky one. When I was assigned the chapter of “Pinocchio in Playland,” I realized I had five months of freedom. Collodi sent Lucignolo and Pinocchio to Playland, to resume the story five months later when the two became little donkeys. Without compromising the integrity of the original plot, I was free to decide what they could have done for five months, a freedom the other two authors did not have. – Paolo Tartamella

italytime Cultural Center: is the first permanent Italian Cultural Center in NYC. An international non-profit platform Co Founded by Vittorio Capotorto and Francesco Pagano, which launched in December of 2013, with the endorsement of the critically acclaimed Dacia Maraini. The italytime team has brought to New York unique theater productions, featuring new artists and original artistic work, as well as helped New York and New Jersey Schools to enrich their programs with interactive theater workshops. The uniqueness of italytime is placing fresh and innovative artistic work at the center of new theater and education experiences in order to create a community of lovers of the arts and, therefore, of builders of a more engaged and resilient society. italytime is inspired by the Italian arts & culture, but it’s meant to be an open platform for theater lovers of all ages, background and nationalities.

Cast & Crew David Donahoe, Melissa Whitehouse, Mimi Perez, Fenton LiAlexander Black, Corina Coten, Dominick Gonzalez, Nicole Vukov, Loretta De Simone, Francesca IIluzzi, Maureen Gonzalez, Carl Tallent, Dan Jobbins

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  • Engrossing, unexpectedly moving…
  • Tony Vaccaro’s life was forged by pain and courage. Passion saved his life and enriched ours.
    Tim Van Patten, director Game of Thrones, The Sopranos
  • No one got closer than an infantryman in war, and no one got closer than Tony.
    Alex Kershaw, Historian and New York Times best-selling author, “The Liberator”

In 1943, with the Allied invasion of Europe imminent, a newly drafted 21-year old Tony Vaccaro applied to the U.S. Army Signal Corps. He had developed a passion for photography and knew he wanted to photograph the war. “They said I was too young to do this,” Tony says, holding his finger as if taking a photo, “but not too young to do this,” turning his finger forward, pulling a gun trigger. Not one to be denied, Tony went out and purchased a $47.00 Argus C3, and carried the camera into the war with him. He would fight with the 83rd Infantry Division for the next 272 days, playing two roles – a combat infantryman on the front lines and a photographer who would take roughly 8,000 photographs of the war.

In the decades that followed the war, Tony would go on to become a renowned commercial photographer for magazines such as LookLife, and Flair, but it is his collection of war photos, images that capture the rarely seen day-to-day reality of life as a soldier, that is his true legacy. Tony kept these photos locked away for decades in an effort to put the war behind him, and it wasn’t until the mid-1990s that this extraordinary body of work was first discovered and celebrated in Europe. In the United States, however, Tony has yet to receive his due and few people have heard of him.

Our film tells the story of how Tony survived the war, fighting the enemy while also documenting his experience at great risk, developing his photos in combat helmets at night and hanging the negatives from tree branches. The film also encompasses a wide range of contemporary issues regarding combat photography such as the ethical challenges of witnessing and recording conflict, the ways in which combat photography helps to define how wars are perceived by the public, and the sheer difficulty of staying alive while taking photos in a war zone.

Though the narrative spine of the film is a physical journey in which Tony brings us to the places in Europe where many of his most powerful photos were taken, over the course of the film we also trace Tony’s emotional journey from a young GI eager to record the war to an elderly man who, at 93, has become a pacifist, increasingly horrified at man’s ability to wage war. Tony believed fiercely that the Allied forces in WWII were engaged in a just war, but he vowed never to take another war photo the day the war ended, and he didn’t.

In addition to numerous interviews with Tony, the film includes interviews with a number of other people, including Tyler Hicks, a Pulitzer Prize-winning photographer for the New York Times; Lynsey Addario, a Pulitzer Prize-winner who has covered conflict for 30 years for the New York Times, Time, National Geographic, and other major publications; Anne Wilkes Tucker, a photography curator and curator of the comprehensive exhibition WAR/PHOTOGRAPHY; James Estrin, a Senior Photographer for the New York Times and editor of the Times’ Lens blog; and John G. Morris, who was the photo editor of Life Magazine during World War II and was Robert Capa’s editor.

“Tony Vaccaro in ABQ” In The Press



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