Dr Jacques COULARDEAU

 

ISAPL BULLETIN XXIV April 2021

https://jacquescoulardeau.medium.com/isapl-bulletin-xxiv-april-2021-69112a079b89

 

That's the latest bulletin with teh latest news before the conference.
TABLE OF CONTENTS
1. In this issue
2. Online March 1, 2021, ISAPL Extraordinary Meeting Report
3. Prof. Marcus Maia, elected ISAPL President, thanking speech
4. 12th ISAPL International Online Congress, 2021: 11th Circular, hosted by Universidade de Aveiro (Portugal
IN THIS ISSUE
The issue begins with Prof. Scliar-Cabral’s report on the Online March 1, 2021, ISAPL Extraordinary Meeting, when the ISAPL New Board of Directors and Advisors (2021-2024) were elected. Prof. Marcus Maia, elected ISAPL President, thanking speech stressed that “Psycholinguistics and Applied Psycholinguistics have still an important role to play in the raising of awareness of the world´s populations, so that we all are not so manipulated”. We include the online 12th ISAPL International Congress 11th Circular, with news arising from the Extraordinary Meeting decisions.

Medium.com, 2021

 

IFIASA-ROMANIA-2021

https://jacquescoulardeau.medium.com/ifiasa-romania-2021-a66a03f21b58

I dedicate this paper to Julien d'Huy since he is the main target of the review and the main defense against the tragic and dramatic anti-historical science-fiction of Yuval Noah Harari. The Homo Sapiens species that took at least 300,000 years to emerge from their ancestors Homo Ergaster and Homo Erectus, of course, not Neanderthals and Denisovans with whom they more or less intensively mated, will not disappear when Ray Kurzweil's Singularity happens around 2050, for one single and simple reason: machines might become very intelligent but they will never be human and hence they will never have the intelligence of human beings, maybe something looking like it in the results, but not at all in the procedures. All roads lead to Rome, for sure, but some are definitely more human than mechanical. And Homo Sapiens has always improved his/her intelligence and mental abilities along with her/his inventions. At times that was not always glorious, like inventing slavery, but it was always a way to be more intelligent than his inventions. Thanks, Julien d'Huy.

 

I dedicate this article to Julien d'Huy who was the inspiration of this research. Mythology research definitely is the best way to stop anti-historical science-fiction, be it from the extreme left who dreams a blood bath, or from the extreme right who dreams the capture and destruction of the Capitol, or from all the uneducated populists, be they for making America Great Again, or be they for America is back.

 

 PEIJES 2021, Doi: 10.26520/peijes.2021.4.3  

 

THE PHANTOM OF THE OPERA

Dr. Jacques COULARDEAU

https://jacquescoulardeau.medium.com/25-reasons-to-remain-confined-18118783683d

 

      Don’t believe you have to go to Paris, to the Old Opéra Garnier, to meet this Phantom. You can meet him in your living room, or even your kitchen, why not your bathroom. You can even be that phantom in your own home, but you have to bring the opera in your sitting room, drawing room, withdrawing room, or parlor, with cookies and tea, coffee, and brandy. Be aware that Detective William Murphy from Toronto finds coffee a lit bit bitter.

 

Two years ago, everyone would have told you it was impossible. What is supposed to be evanescent on a stage cannot and must not be watched over and over again in five or ten or even twenty various productions from all around the world “The evanescent has to remain evanescent,” the effete members of the cultivated jungle used to say, and strangely enough they still effetely say so. Once an effete Tarzoon, always an effete Tarzoon, though once a knight is enough.

 

It only took eighteen months of a pandemic for people to realize that they could have at the tip of their fingers on their remote control all the operas they wanted for something like 10% of an economical (vision poor and hearing so-so) ticket in the main opera houses in the world. And what’s more, you could have the DVD  for maybe 15% of the best seats in the main opera houses in the world, maybe even less (€22.50 versus €150), and for the same price you could watch it ten times if you wanted, or at least two or three times over two or three months and with a choice of five languages for the subtitles, or none.

 

You can thus get up in the morning with Georges Bizet’s Carmen, have breakfast with Charles Gounod’s Romeo and Juliet, go to work to all the arias of Wolfgang Amadeus Mozart’s Figaro’s Wedding, work all day singing The Nose by Dmitri Shostakovich in your head, go back home with the medieval Ludus Danielis, have supper accompanied by Vincenzo Bellini’s I Capuleti e i Montecchi, spend the evening with some Fliegende Holländer by Richard Wagner, and finally go to bed rocked to sleep by Benjamin Britten’s Death in Venice, or if you prefer Quadrophenia by The Who.

 

The opera used to be a popular art in the simple forms of such shows up to the 18^th century, maybe slightly before. But opera houses started being built at the end of the 17^th century everywhere in the world, at least the western world, and many seats became very expensive, though the orchestra in the plain theater tradition remained without any seats at all, just standing all along and it meant cheap tickets, but even so, as soon as these big opera houses were built with the rich technological equipment for rigging and lights (even before electricity of course), prices went up. No danger for that type of misguided inflation with streaming or mechanical media that can provide the best digital sound and images.

 

So! Thanks, COVID-19, for this capital progress: the opera can become popular with everyone who has the means to receive the signal or read the mechanical digitalized media, meaning first of all electricity. The Sri Lankan government has just announced that by the end of the year every home should be able to have electricity. That will not kill live performances, but that will require live performances to really provide something original, dense, intense, and highly mesmerizing if not addicting.

 

But just as the radio, the record, the CD, and now streaming have not killed music concerts, far from it, the same means applied to theater and opera will not kill the Theater and the Opera, and at least it will enable millions of people who cannot go to the opera (too expensive or too far) or who want to see and listen to what was produced live a long time ago to have access to these forms of art that were always limited to very narrow audiences before streaming and the DVD, with only CDs and, before, records available.

 

I have collected here twenty-five documents on twenty-four operas. You will find first the twenty-five reviews in English with only the front sleeve pictures, and then the same twenty-five reviews in French with pictures from the shows themselves. The original language was English and despite all the care you can provide, the translation might have kept some imperfections. Please excuse the Artificial Intelligence that helped me translate and the translator himself who might have not seen all the necessary corrections, because an AI translating machine is far, very far, very immensely far from doing a good job, just average, not more than average. It requires a lot of proofreading. True enough translating 1,500 words with an AI translating machine will take about one hour (exclusively proofreading and correcting) instead of three or four hours from scratch. In fact, it might even be slightly faster than translating without the help of a machine to just plain write the review in the second language without translating, hence for scratch since it takes about one hour to write 1,500 words. Enjoy the trip.

 

Jacques COULARDEAU

 

TABLE OF CONTENTS

 

1-         HANDEL – WIEN OPERNHAUS – AGRIPPINA – 2016-2018

2-         ALBAN BERG – LULU – MARC ALBRECHT – PATRICIA PETIBON – SALZBURG FESTIVAL – 2010

3-         PHILIP GLASS – THE PERFECT AMERICAN – TEATRO REAL MADRID – 2013

4-         CHRISTOPHER GLUCK – JOHN ELIOT GARDINER – ALCESTE – (1776)-2000-2002

5-         GLUCK – JOHN ELIOT GARDINER – ORFEO AND EURIDICE – (1774)-2000-2008

6-         GLUCK – MARK MINKOWSKI – IPHIGÉNIE EN AULIDE – (1774)-2011

7-         GLUCK – MARK MINKOWSKI – IPHIGÉNIE EN TAURIDE – (1779)-2011

8-         PHILIPPE JAROUSSKY  GLUCK: ORFEO ED EURIDICE (2CD)

9-         LEOS JANACEK – GLYNDEBOURNE – THE CUNNING LITTLE VIXEN – 2012-2013

10-       CLAUDE DE BUSSY – PIERRE BOULEZ – PELLÉAS ET MÉLISANDE – 1992-2002

11-       DEBUSSY – LAURENT PELLY – PELL2AS ET M2LISANDE – 2009

12-       JEAN-PHILIPPE RAMEAU – LES PALADINS – WILLIAM CHRISTIE – (1757)-2004

13-       JEAN-PHILIPPE RAMEAU – LES INDES GALANTES – WILLIAM CHRISTIE – (1735)-2005

14-       JEAN-PHILIPPE RAMEAU – LES BORÉADES – WILLIAM CHRISTIE – (1763, never performed then)-2004.

15-       JEAN-PHILIPPE RAMEAU – CASTOR ET POLLUX – CHRISTOPHE ROUSSET – (1737)-2008

16-       JEAN-PHILIPPE RAMEAU – ZOROASTRE – CHRISTOPHE ROUSSET – (1749)-2007

17-       JEAN-PHILIPPE RAMEAU – IN CONVERTENDO + HARPSICHORD MUSIC + DOCUMENTARY – WILLIAM CHRISTIE – (1710-1714/1751)-2006

18-       FRANZ SCHREKER – DIE GEZEICHNETEN – SALZBURGER FESTSPIELE – 2005

19-       SHOSTAKOVICH – LADY MACBETH OF MTSENSK – GRAN TEATRE DEL LICEU – 2004

20-       ROYAL OPERA HOUSE – GIUSEPPE VERDI – SIMON BOCCANEGRA – PLACIDO DOMINGO – 2010

21-       XIAN XINGHAI – GUANG WEIRAN – YELLOW RIVER CANTATA – SHANGHAI PHILHARMONIC ORCHESTRA AND CHORUS - 1993

22-       BERND ALOIS ZIMMERMANN – DIE SOLDATEN – SALZBURGER FESTSPIELE – 2012

23-       MARCEL CAMUS – BLACK ORFEO – ORFEU NEGRO – 1959

24-       OLD TESTAMENT OF THE BIBLE, BOOK OF DANIEL 5: 1-5 & 25-29 WRITING ON THE WALL

25-       ALESSANDRO SCARLATTI - IL MARTIRIO DI SANTA TEODOSIA - APARTEMUSIC.COM – 2020

 

https://jacquescoulardeau.medium.com/25-reasons-to-remain-confined-18118783683d

 

IFIASA Proceedings Conference2020

https://jacquescoulardeau.medium.com/ifiasa-proceedings-conference2020-d40b092c14d8

 

A fascinating conference trying to find out how science can only progress towards more knowledge, which does not mean either the truth or full knowledge, in harmony among various disciplines, including religion and spiritual thinking that are fundamentally of the same nature as science: an abstract explanation of life and nature. It is free open-access. So, enjoy the trip to Romania at the tip of your fingers. Dream you are walking on your nails like horses.

Doi: 10.26520/mcdsare.2020.4

Ifiasa, 2020

Religion,  *  Computer Science,  *  Social Sciences,  *  Spirituality,  *  Political Science

 

Is Translating Becoming A Racist Crime?

https://jacquescoulardeau.medium.com/is-translating-becoming-a-racist-crime-7b8dade3f99e

Oh yes, it is becoming a racist crime! And it is urgent we react. Because otherwise, it will become a sexist crime, a genderist crime, a nationalist crime, an ageist crime, a religious (Christian, Muslim, Buddhist, Hinduist, Jewish) crime, etc., etc. The list could be very long. We have to stop this type of thinking that is nothing but paranoid ego-centered schizophrenia. This is an emergency call, and it should get some momentum.

Il est plus qu'urgent de réagir contre ce dictum absurde qu'une poétesse noire doit être traduite par une traductrice noire. La traduction c'est le passage d'une culture à une autre, d'une référence à une autre. Il est donc urgent d'affirmer la nécessaire cohabitation des cultures dans la traduction, et donc des références religieuses, ethniques, sexuelles, de genre, et bien d 'autres encore.

Medium.com; 2021

Translation Studies,  *  Race and Racism,  *  Poetry,  *  Translation,  *  Bigotry

 

Des Rossignols aux Choristes

https://jacquescoulardeau.medium.com/des-rossignols-aux-choristes-cbfd9eb93708

 

Ces deux films sont directement la suite de l'un et de l'autre, ou peut-être même que le second annonce le premier plus qu'il ne le rappelle. Ils sont les bienvenus dans notre monde d'aujourd'hui où l'éducation va devenir, si elle ne l'est pas déjà devenue, un auto-apprentissage guidé et non un gavage des oies que sont les canards tous boiteux de ces élèves. Covid-19, distance, gestes barrières, etc cela veut dire que les apprenants deviennent les maîtres de leur apprentissage. Il va falloir conmpter avec ce que les apprenants veulent enfin apprendre et non ce que l'on veut leur faire ingurgiter... trop souvent de force, vous savez la force didactique des pédagogues patentés qui m'ont souvent dit que quand on sait enseigner on peut enseigner n'importe quelle matière. Ils admettaient parfois que c'était peut-être un peu dur pour une langue que l'on ne connait pas, mais les langues mises à part...

 

Medium.com 2021

Music,  *  Education,  *  Jean-Philippe Rameau,  *  Choral Singing as Cultural Practice,  *  corporeal punishments