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CURRENCY: THE DOUBTS OF THE FATHERS in the future of the March 12

CURRENCY: THE DOUBTS OF THE FATHERS
Giuseppe Pennisi
monetary union was created in the wake of German unification. Then those states that were part of the European exchange rate (€ journalistically called EMS, EMS) it became clear that the unification of Germany that it had priority on European integration. They were ready to spend vast sums to the objective (in the first year transfers were made to the five new federal states seem to those carried out under both ordinary and extraordinary intervention of the South) and to sterilize the inflationary effects of monetary policy with the very strict whose impact would be felt in the rest of Europe. The initial proposal came from France, whose exchange rate with the mark was fixed because of the "covenant of the Louvre" in 1987: the creation of monetary union would make college (in the framework of the European Central Bank ECB and the Eurogroup) decisions, however, would remain only within the Bundesbank and the authorities in Berlin. Now, just in France (in many ways the heart of the euro), we have doubts about the future of currency and does not outline paths for the output of this or that country but for a new overall structure of the monetary union.
not just sociological surveys of research on confidence indices (the euro) da parte di campioni dell’opinione pubblica . Sulla scrivania dell’Ing. Trichet , Presidente della Banca centrale europea (Bce) c’è un elaborato del servizio studi dell’istituto (working paper n.1286) finalizzato sull’onda dell’aumento del differenziale dei tassi sulle emissioni decennali nell’eurozona (si va del 3 per cento di quelli tedeschi al’12 percento di quelli greci, al 9 per cento di quelli irlandesi, al 6,8 per cento quelli portoghesi ed attorno al 5 per cento quelli italiani). Lo studio include anche i differenziali (ancora più alti) tra i “corporate bonds” (emissioni societarie) e delinea la “probabilità di una nuova recessione”. L’interrogativo è chiaro: dato che il “salva Stati” può poco o nulla in questa materia, vale la pena insistere? La domanda sarebbe banale se non venisse dal “santuario dell’euro”, dove inoltre è allo studio un aumento dei tassi d’interesse Bce (come dichiarato dallo stesso Vice Presidente dell’Istituto, Lorenzo Bini Smaghi, in un articolo sul “Corriere della Sera”).
Alla vigilia della prossima riunione dell’Eurogruppo (15 marzo), al Ministro dell’Economia francese, Christine Lagarde, è stato consegnato il lavoro n.308 della Banque de France, dal titolo eloquente “To Be or not to Be in a Monetary Union. A Synthesis”. Lo studio, basato su un raffinato econometric model constructed for this purpose, concludes that in terms of welfare benefits to "add credibility" of the policies of States Parties to the club outweigh the costs only if inflation does not exceed 2-3 per cent a year and if the cycle Economic membership is "balanced." You can make fun by saying that there was no need for an elaborate construction of econometric reach this conclusion. What matters is the change of wind to the Bank of France (one of the pioneering activities of the euro). A similar change is felt in the last works OFC (the French institute of economic analysis).
However, una secessione unilaterale (come ipotizzato, ad esempio, dall’economista italiano Paolo Savona) ha un costo pesantissimo per chi la fa (sulla base del crollo di unioni monetarie negli Anni Settanta si può stimare sul 4 percento del Pil). Ed è onerosa anche per chi resta (e perde mercati). Attenzione, però, questa stima, basata su secessioni da unioni monetarie alla fine degli Anni Sessanta (la zona della sterlina), negli Anni Settanta (molteplici in Africa ed Asia) e negli Anni Novanta (la dissoluzione di quella dell’Urss) è stata di recente contraddetta da un lavoro del Fondo monetario (il working paper 10/169) sulla “ordinata” e “non costosa” “de-dollarizzazione” Peru: the costs can be contained if you follow a path in the medium term well-organized.
A road is drawn from Leszek Balcerowiz interesting, well-known economist in Central Europe, President of the National Bank of Poland from 2000 to 2007 is now at the Peterson Institute of International Economics in Washington. Balcerowiz was a passionate "€ enthusiastic." In a work completed in late 2010 (working paper No 10-18) argues that the sovereign debt crisis in the eurozone have to "open eyes", that lead to "growth policies to reduce the debt burden" and to "make more flexible economies "to better deal with new crises. "The model to look to for stability in the euro is not going towards a single state or a federation, but something similar to , a system of sovereign states with a single currency but has not of law. " Speaking Balcerowiz, we deduce that could be enough of a European mechanism to Bretton Woods or the old EMS strengthened.

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"DEATH IN VENICE" BRING LIGHT ON THE STAGE OF SCALE in Milano Finanza March 12

"DEATH IN VENICE" BRING LIGHT ON THE STAGE OF THE SCALE AND
Giuseppe Pennisi
'came late in Milan (where he is on stage until 19 March), the latest work by Benjamin Britten, "Death in Venice" of 1973, taken from the novel by Thomas Mann, who also inspired Luchino Visconti. The work was a huge success 38 years ago, in 1973-74 was represented in 15 countries and is considered one of the masterpieces of the twentieth century. In Italy we saw in Venice, Genoa and Florence. It requires a reduced orchestra (with the exception of percussion), two actors (a tenor and a baritone-bass) is almost always on stage, but also a counter tenor soloists and about 40 singers and dancers in minor roles. The wait has been rewarded by a show in Inglese co-production with the National Opera, ENO (where it is in the repertoire) and La Monnaie in Brussels, seen in recent years. Visconti
While emphasizing the theme of the attraction of an elder erotica writer for a German teenager Polish (Both on holiday at the Lido), Britten, a practicing Catholic and aware of a serious illness, analyze, in two acts and 17 scenes, in remorse for what was not done, the longing for youth, beauty lost, the ' anxiety about what will be found after death. In a Venice where the center and south and smelly and shines a glaring sun on the Lido. Effective directed by Deborah Warner, the beautiful scenes of Tom Pye, the accurate costumes Clohe Obolenski, dilation and poignant musical direction by Edward Gardner and excellent performers - everyone stands up John Graham-Hall - make it a full shade of work.

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HERE'S RANKING OF THE BEST PLANS DEVELOPED COUNTRIES EU Il Foglio March 12

HERE'S RANKING OF THE BEST PIANI SVILUPPISTI DEI PAESI UE
Giuseppe Pennisi
Nel “semestre europeo” avviato in queste settimane, il Piano Nazionale di Riforme (PNR) è lo strumento per promuovere la crescita. La sua definizione simultaneamente con quella del Piano di Stabilità e Convergenza (PSC) ha lo scopo di assicurare che risanamento della finanza pubblica e programmi di sviluppo vadano di pari passo tra loro ed in tutti i Paesi dell’UE (in particolare in quelli dell’eurozona). I PNR sono attesi a Bruxelles per il 15 aprile. Il PNR italiano verrà presentato al Parlamento il 10 aprile.
Il PNR italiano, varato dal Consiglio dei Ministri il 5 novembre, è in fase di revisione alla luce non solo dei più ambiziosi obiettivi announced by the Government but also the "Growth Survey" (review of the potential for growth) from the European Commission on January 12. In fact, although many NRPs are adjusted in these days, the documents of others help us see if we can incorporate some ideas, and to draw lessons for next year. A comparative analysis is made easier by the fact that the various NRP follow the same pattern: a) macro-economic scenario in the medium term, b) the specific national objectives to reach those of Europe 2020; c) short-term measures to give substance ab ).
Among the large Member States, Germany, followed by France, is what has kept the document more carefully. Even Germany and France, however, expressed with clarity "reform." The European Commission itself has made it clear that this aspect will be addressed gradually. The NRP German shows no inhibitions melt structural nodes (especially public finance) and gives priority to employment growth as a tool for the improvement of public finance (the busiest means more revenue and lower costs of capital) and for the inclusion of sections on the margins of society. With regard to employment of the aged over 55 and women, Germany and France put more ambitious targets than those of Europe 2020, while the PNR November 5 if they put lower than the EU, justifying it with "low base".
Marked differences especially with regard to human capital formation. PNR in Austria, France, Germany, Finland, Poland, Czech Republic, Slovak Republic and Sweden, it is proposed to include school drop by 4 percent and 9 percent by 2020 (the EU target is 10) while in the Italian document last November is aimed at 15-16 percent. In terms of higher education (university and equivalent), we are 22.3 percent of the relevant age group and offer (PRN in November) to get to 26-27 per cent (only Romania has a goal less) than 60 per cent of Ireland, 50 per cent in Belgium, Cyprus, France and Poland and more than 40 percent of Germany, Portugal, Spain, Latvia, Lithuania, Slovenia. Even more, the gap in scientific research: Most EU countries have already spent in scientific research that exceed 2 percent of GDP (in November we've set ourselves the target one, compared to 53 percent ' 1 percent now) and propose more ambitious goals of 3 percent expected in Europe 2020.
Our goals are lower than those of others - he says - because of the priority to be given to the consolidation of public finances. Other EU countries have more complex situations budget, but nevertheless give priority to real growth. We could do with a stronger program of liberalization: the Treasury Department has the equipment for that purpose, described in an elegant working paper issued last week at an international level.

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IF PUBLIC SPENDING INCREASES DOUBLE GROWTH Avvenire March 11

IF PUBLIC SPENDING INCREASES THE GROWTH OF DOUBLE
Giuseppe Pennisi
If our economic diplomacy to be able to amend the "pact for competitiveness" proposed by France and Germany, we will avoid the need for extraordinary financial maneuvers to reduce deficit and debt stock. Scan the much dreaded "asset" that could trigger a crisis of confidence in Italy. Even so, we uncork bottles of champagne. Looking at the regional accounts data, of Italy, one realizes that the various treatments adopted in recent decades have had results well below those expected. The spectrum of measures of corporate finance is still present.
During the period 1996-2008 when GDP increased by a total of 156.75%, the central government expenditure of the state and local governments grew by 225.76%. Although the blocks to hiring, the containment of wages and salaries, the "Gordon Brown's method" of 2002-2006, and "spending reviews" of 2006-2008, the cuts "linear" in place dal 2008 e la contrazione degli investimenti pubblici, la spesa per gli apparati politici ed amministrativi è aumentata ad un tasso doppio di quello della produzione di beni e servizi. Oltre ai tentativi ricordati,va menzionata l’”eurotassa” varata nel 1996 per entrare nel gruppo di testa della moneta unica. Ove le misure adottate avessero avuto unicamente l’esito d’ allineare la crescita della spesa per amministrazioni a quella del Pil, quest’anno la spesa pubblica sarebbe inferiore di ben 30 miliardi di euro (2 punti percentuali di Pil) con un miglioramento significativo della posizione dell’Italia e in termini di rapporto deficit: Pil e d ’andamento del rapporto tra stock di debito e Pil. L’aumento of "administrative" was more rapid than in the Regions "stronger" than in "weak." It has the impression that in the regions 'strong' central governments have sought to have the instrumentation to monitor decentralization. A connection is in contrast with the need to restrain spending and with the goals to transfer functions from the center to the periphery.
Secondly, if the stock of official debt, was added to the "hidden debt" such as claims against companies and even individuals (eg, for those who recently went to rest have not yet been granted the effects of some contractual increases defined after retirement for periods when it was still in office), the ratio to GDP would increase (according to an analysis of the association of research Astrid) by six percentage points, bringing it to around 125%. The figures would be even greater if you add estimates of VAT refunds.
What to do? Realistically it is hard to think of a drastic reduction of the equipment because even if you cut at the political level, the problem would be to absorb the employees. In the rest of the world, two methods have proved effective. In the United States, the requirement of a rigorous cost-benefit analysis of measures with cross-checks of evaluations of the executive and Parliament: the measure was first introduced by the Reagan Administration and then never amended nor new tenants of the White House or the majority who have alternated on Capitol Hill. In France, the program of rationalization of budget choices with which he led the country in the Louvre Agreement of 1987 which established a fixed exchange rate between the franc and German mark. According to the program analyzes government (on how to reduce costs) were published and were the subject of public debate. These verification and transparent debate are the roads that would be worth to beat us too.

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the parallel texts (but not biological) of a Catholic and a homosexual jew pantheist The Gazette March 10

the parallel texts (but not biological) of a Catholic and a homosexual jew pantheist
"Death in Venice" by Benjamin Britten in Milan and Rome to Gustav Mahler's Ninth
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• Who has had the good fortune to grasp the connection on the evening of March 5 heard at La Scala in Milan "Death in Venice "by Benjamin Britten (until March 19 replicates) and the afternoon of March 6 Gustav Mahler's Ninth Conciliazione Auditorium in Rome (it was replicated on 6 April 2 to 5 but you can listen to the Academy Nazionale di Santa Cecilia). There is a very strong linkage between the two jobs: they are two heads of two key players to understand the twentieth century. Were conceived and composed when the two authors knew they were, while still young, suffering from severe heart failure that soon would take them to the grave. There were two excellent performances: the work of Britten came to La Scala in a production co-produced with the Inglese National Opera for four years already excited about the European public, while Mahler's Ninth, conducted by Francesco La Vecchia, was a 'further proof of how the Young Symphony Orchestra of Rome you compete well with more complex Europe.

In reviews and comments, however, few have grasped the link between the two testaments. Non-organic, of course, since Britten and Mahler looked much farther when he was about the end of their lives mortality. Britten was the official composer of the English Court (a Court not Protestant but no less bigoted: in those years, the British censors had banned the staging of a "View from the Bridge" by Arthur Miller on the grounds that he misled the young people taking them on the path of homosexuality). Britten was an awkward, as a practicing Catholic who lived from the age of 23 years with the tenor Peter Pears, to whom "Death in Venice" is dedicated as the ultimate gift of love. In his interpretation of the novella by Thomas Mann is not the central homoerotic attraction in the film version made in those years by Luchino Visconti. The central theme is the intellectual contrition for what he could do but did not do, along with the sense of youth and beauty lost and which can no longer communicate. The death comes on the Lido beach and the sea runs to the youth. An end of "different", but still Catholic.

Mahler had converted to Catholicism in full regalia, but do not really believe it, and an opportunist with one goal: to become the leader of that work instead of Vienna, which gave him much trouble and bitterness to accelerate the disease. He was a jew not a believer that, after much suffering from theater director (as well as personal stories and family), it is closer to pantheism Zen (formerly toccato nella Terza sinfonia). Nella Nona ascoltata all’Auditorium di Via della Conciliazione, lo si avverte quando dopo i primi tre movimenti (un rimpianto per la giovinezza non distante da quello di Britten) si scivola nell’adagio del quarto che trasuda di amore per la terra e per la natura. Mentre Britten guarda al Cielo, Mahler si ricongiunge, con serenità zen, ai grumi delle terra e della vegetazione da cui pensa di essere venuto.
© - FOGLIO QUOTIDIANO
di Giuseppe Pennisi

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The Project Bonds and "The quality of lending," On March 10 Velino

ECO - I Project Bonds e “The quality of lending”

Roma, 9 mar (Il Velino) - Vi ricordate “Il Mercante di Venezia”? Il punto centrale dell’arringa di Porzia riguarda "The Quality of Mercy", that "the quality of tolerance and forgiveness." About the Project Bonds proposed by the European Commission, one could say that their utility and their value depends on "the quality of lending", ie the quality of projects they
below.

The European Commission's document speaks for infrastructure investments in the order of 1500 to 2000 billion € by 2020. With the advent of the financial crisis, the market for these securities dried up, leaving dry of funds as potential investments for new infrastructure construction in Europe. The Commission aims to provide support to this market, funding projects with the European Investment Bank (EIB). The financing may take two forms. 1) Warranty: EU and EIB grants a line of credit, which the company-the project could draw in the event of insufficient revenues to repay the debt issued on the market. 2) Subordinated debt: European Union and Bei make a loan to the company-project, which would be junior compared to the securities placed with private investors, which would then be reimbursed for first in the event of insolvency of the company-project. In both cases, the purpose is to transfer the credit risk on the financing of infrastructure investments, financial statements of the European Union and the Bei. This should increase the reliability of project bonds issued in the market, giving life to these financial instruments.

They noted, correctly, Angelo Baglioni, Andrea Boitani and Pippo Ranch www.lavoce.info that although the purpose of the overall scheme can be supported, on the one hand, it stretches credibility that funding from the EU do not involve the Bei- 'issuance of additional credit: there are no free meals. From another, it is difficult to envisage a reduction in the risk borne by the Community institutions. On the third, finally - and this is the point notale - the Project Bonds will be worth as much as their underlying projects. At the EU level has occurred very little high quality about it. Not until the second half of the eighties a specialist consultancy was hired to prepare appropriate manuals and six experts were invited to review the work on a voluntary basis, the Eurocracy not ever sent out the product as it was considered "too complicated "accountancy and disseminated a booklet instead of financial analysis.

investments in infrastructure, both material and intangible, present problems of setting standards for evaluation and selection criteria that lead to intergenerational effects, and in each case to quantify the value of social costs and benefits related to population groups with different levels of income or consumption. It is not only a technical work (even if the technical part is essential) because it involves identifying and choosing a social welfare function and make the difficult choices between growth and equity.


In Italy, given that for decades have not updated the manuals could be useful for this to be developed (in collaboration with the competent authorities and academia) from a technical body such as the political CNEL. In Europe, the Eurocracy should roll up our sleeves and continue the work started about a quarter of a century ago. Even as the latest products - one of whom presented with great pomp in Rome in the autumn last - leave much to be desired.

(Giuseppe Pennisi) March 9, 2011 20:28

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The own goal that can The crisis cost a Subsidiary of Italy March 10

IFIN / 2. The own goal that can cost a crisis
Italy Giuseppe Pennisi
Thursday, March 10, 2011
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The "European semester" began quietly - at least judging by the poor dedicated to the theme that echoes the mainstream press. It is, however, not an innovation but a method of procedure in "making economic policy", at least in the area now called the press "the eurozone." From the results of innovation will depend to a large extent, the ways and times when the eurozone will be released by the financial crisis that is gripping from 2007, and especially if the eurozone will remain the one we know today or if it has to be changed - for example , with the release of some Member States, or by adopting an area of \u200b\u200bconcentric circles, and at different speeds.

Innovation stronger "European semester" is the preparation and approval of joint or parallel, in all range States, both del Programma di Stabilità Finanziaria (Psf) sia del Programma Nazionale di Riforme (Pnr). Quindi, gli obiettivi e le strategie di riassetto della finanza pubblica vengono coniugati con obiettivi e strategie di riforme economiche, necessari per la crescita e per una migliore distribuzione dei suoi frutti.

Dato che ciò avviene parallelamente in tutti gli Stati (ora 17 dell’area) armonizzando le tempistiche delle procedure parlamentari, nonché sulla base di un’analisi sul potenziale di crescita condotto dalla Commissione Europea e diramato all’inizio dell’anno, ciò dovrebbe promuovere politiche economiche convergenti e, quanto meno, non divergenti o addirittura contrastanti.

Partire well with the "European semester" is necessary for two reasons: first, whether there is a start on the wrong foot there is a danger that the whole set-up, shaky in recent months, could have irreparable damage; from another, February 18 as discussed on these pages, the "half" in 2011 is under a "covenant" France and Germany called for competitiveness "that could call into serious difficulties states such as Italy (imposing massive extraordinary financial measures or the risk of heavy penalties).

We started on the right foot? It is difficult to give a straight answer. On the one hand, the Council of Ministers approved on November 5 last, on the basis of work coordinated by the then Minister for European Affairs, a PNR. The document, however, as those presented by most other states in the eurozone, has not been welcomed by the European Commission, whose paper on the potential growth should precede not follow the PNR of individual states.

It is placed, therefore, the problem of updating the document. The Italian legislation (Law 11/2005, known as Law Buttiglione by the name of the holder of office when it was launched) entrusts the task to Ciace (Interministerial Committee for European Affairs - a Committee of Ministers) and its technical support (the Department of European Affairs at the Presidency of the Council and other officials appointed by the Ministers who make up the body).

In fact, a proxy (it seems informal) was given by Interim Minister since mid-December (Silvio Berlusconi) to the Ministry of Economy and Finance (MEF). The MEF has an econometric tools to simulate not only macroeconomic, but also the effects of reform policies: the documentation has been put online at the Social Science Research Network March 7, is summarized in the paper "Modelling and the Effects of Macroeconomic Policy Reforms: An Assessment Using Item and Quest For Italy the "Government of the Italian Republic (Italy), Ministry of Economy and Finance, Department of the Treasury Working Paper No. 1 of which the authors are leaders of the MEF and faculty at the University of Rome La Sapienza. From next year, because of a change to the law 11/2005 under discussion in Parliament that the PSF as the PNR will probably be in the hands of a single driver: MEF.
Time is running: the PNR is expected in Brussels in mid-April, but the content of political stability and reform are already discussed in an extraordinary Council of Heads of State and Government on March 24. Before the launch, also requires the Pnr "views and proposals" of the CNEL, consultation with social partners and resolutions by the Parliament.

Italy urgently needs to resume a program to grow. In the absence of an official document of the Government, today Cnel examine a 15-page document in which "views and proposals" are essentially auspices of what should be contained in the PNR. The Budget Committees of the House and Senate are moving in the same direction, strong stimulus Intergroup Europe 2020, composed of 70 members and a technical arm, the Centre for Growth and Employment in Europe.

is a framework in which in essence is very confident in the goodwill and Stellone in italics for a little good-luck 'from our hope that we will succeed. Deserves to be followed closely, not overlooked that, on average, takes weeks.


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Choosing A Song To Choreograph To

"Death in Venice", the farewell to the life of Benjamin Britten in the March 8 Velino

Music and concerts
un 13 febbraio denso di nebbia e di umidità. Non so se Benjamin Britten pensasse alla morte a Venezia del padre del Musikdrama quando, appena sessantenne ma già con una grave disfunzione cardiaca (delle cui possibili conseguenze aveva piena contezza), affidò a Myfanwy Piper il compito di ridurre, in 17 rapide scene, il romanzo di Thomas Mann “Der Tod in Venedig”; erano gli anni in cui Luchino Visconti, anziano e già visibilmente malato, aveva portato, con un cast internazionale, la novella sullo schermo, ottenendo un buon successo di critica e di pubblico.


La lettura del racconto di Mann fatta da Britten è molto differente da quella che, più o meno negli stessi anni, faceva Visconti. Nel Italian film director is giving much attention to the attraction as a fundamental aspect of the erotic drama. In the work of Britten, this attraction, although present, is less important than the intellectual crisis of aging and death, the weakened awareness of creativity, to his regret and even remorse for sins committed.


"Death in Venice" is a work of extreme severity, marked by relative poverty, the means used (from the organic instrumental voices and at the same ballet, specially designed for the small theater Aldeburgh). The orchestral fluid flow and continuous, never covers a single word of the beautiful booklet. The musical language is clearly characterized: the chromaticism belongs to the world of Aschenbach, the pace to that of oriental Tadzio.

There are obvious reasons conductors; the initial twelve-tone line of Aschenbach, who returns in several versions, the theme of Tadzio gamelan tone almost to the theme of the second lead, the "death" looming that occurs from time to time in the guise of a traveler, a barber, a gondolier, and so on. It 's a theme introduced at the beginning of the work in the air "Marvels unfold" and that gradually accompanying the bass-baritone performing in various characterizations. Despite the obvious assumption
autobiographical in the work we do not find any aesthetic contemplation of death even if death occurs from the title and the first scene in the cemetery. Britten knew that "Death in Venice" would be his last work. But rather than wait the end (as in Mann's novel and especially in the film by Visconti), the page is a reflection of the sixties youth that no longer exists (the season that once only "of "Scènes de la vie de Bohème" by Murger).

The big idea is the theater of Piper lack of communication between the well-educated, eloquent and refined Aschenbach, on the one hand, and " altri”, dall’altro: Tadzio e la sua famiglia sono mimi che non hanno parola; con i ruoli minori si scambiano solo frammenti di frasi; c’è un unico interlocutore: la morte, nei suoi sette volti interpretati da un unico cantante (il baritono). In effetti, Britten aveva già scritto la “sua” contemplazione della morte, una contemplazione particolarissima di un credente segnato dalla propria omosessualità, la aveva scritta due volte in quei grandi capolavori che si chiamano “Billy Budd” e “War Requiem”, poco rappresentato, il primo, in Italia ma in programma il secondo questa stagione all’Accademia di Santa Cecilia.

Britten è morto il 4 dicembre 1976. Almost 35 years after the end of his earthly existence, the Teatro alla Scala in 2007 proposed the construction product dall'English National Opera in 2009 and went to La Monnaie in Brussels. An excellent idea to bring in Milan, where the work had never been represented, a production model. E 'staged very different from, elementary, created in 1973 in the theater of Aldeburgh and view a few months later to La Fenice, in the only run Italian stage before the Genoese in 1999 resumed in 2002 in Florence and Venice in 2008.
While the production of Genoa-Florence-Venice was struck by the elegance (the construction was entrusted to Pier Luigi Pizzi), using al massimo la tecnologia ed i vasti palcoscenici (sia del Coliseum di Londra sua della Scala), la regista Deborah Wagner ha dato vita ad una Venezia stilizzata in stile Anni 20 con un forte contrasto tra la città (umida , calda e scura perché densa di nubi di scirocco) ed il luminoso Lido. In questa Venezia filtrata dalla memoria, il tenore John Graham-Hall (Aschenbach) in grande forma , contempla la propria vita, inseguito da un Peter Coleman-Whright sorprendente per versatilità e destrezza nei sette ruoli prevista dalla parte. Il protagonista insegue la giovinezza perduta raffigurata da Tadzio (il ballerino Alberto Terribile) ed echeggiata nella voce di Apollo (il controtenore Iestyn Davies).


Graham-Hall ha una vocal style similar to that of Peter Pears, for whom the role was conceived: a solid central register from which stand out sharp. Next to him, while Peter Coleman-Whright shows good consistency voice a little 'subdued (at least so it seemed on opening night). The orchestra of La Scala, conducted by Edward Gardner completes the picture of a memorable show. Gardner emphasizes that more time taken, especially in the second act, make the show even more poignant.


The audience, usually suspicious of contemporary music, has expressed his strong appreciation for the work britteniana. On the evening of the first real ovation for John Graham-Hall and applause throughout the vast company.


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Britten the composer's "Forgotten" Why bother Il Velino March 7

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CLT - Opera, Britten, the composer "forgotten" Why bother
Milan, 7 March (Il Velino) - The bell'allestimento of "Death in Venice", a real farewell to life, the last work of Benjamin Britten is on stage Scala until March 19. It is a co-production with the National Opera Inglese (Eno), which debuted in 2009, and the Theatre La Monnaie in Brussels. It is a show that deserves a trip to Milan, because it is without doubt the best that we have seen so far this season in the Italian opera houses. However, it should ask why, despite some interest for the composer in 2006 (thirty years after the death), "Death in Venice" and other major works by Britten, one of the top three great composers of musical theater of the "twentieth-century historian," we had limited circulation in Italy. In terms of personnel, Britten was very close to Italy, but little has been done in our country for years. The only exception is Rome, largely thanks to the programs of contemporary music orchestra of RAI before it was abolished. In the past two decades, there has been a revival of interest and theaters and, most importantly, the public. "The Turn of the Screw" was set up in Turin, Rome, Cagliari and Parma, "Peter Grimes" in Florence, Milan, Reggio Emilia and Ferrara, "Billy Budd" in Venice, Turin and Genoa, "Death in Venice" and "The Rape of Lucretia" in Genoa, Florence and Venice, "A Mid-Summer Night's Dream" in Rome, Naples, Milan and in the Tuscan circuit of City Opera, "Albert Herring" in an Emilian and Cosenza's fables sacred are been staged in Spoleto, the "Saint Nicholas" in Bari and Montepulciano, "The Little Sweep" in Palermo, Rovigo and Modena. Yes sono anche avute varie esecuzioni del “War requiem”.

Il bell’allestimento di “Death in Venice”, un vero e proprio addio alla vita, ultima opera di Benjamin Britten è in scena alla Scala sino al 19 marzo. Si tratta di una coproduzione con la l’English national opera (Eno), dove ha debuttato nel 2009, e con il Teatro La Monnaie di Bruxelles. È uno spettacolo che merita un viaggio a Milano, perché rappresenta senza dubbio il meglio che si è visto finora in questa stagione nei teatri d’opera italiani. Occorre tuttavia chiedersi perché, nonostante un certo interesse per il compositore nel 2006 (trentennale dalla morte), “Death in Venice” e altri fondamentali lavori Britten, one of the top three great composers of musical theater of the "twentieth-century historian," we had a limited circulation in Italy. In terms of personnel, Britten was very close to Italy, but little has been done in our country for years. The only exception is Rome, largely thanks to the programs of contemporary music orchestra of RAI before it was abolished. In the past two decades, there has been a revival of interest and theater and, most importantly, the public. "The Turn of the Screw" was set up in Turin, Rome, Cagliari and Parma, "Peter Grimes" in Florence, Milan, Reggio Emilia and Ferrara, "Billy Budd" Venice, Turin and Genoa, "Death in Venice" and "The Rape of Lucretia" in Genoa, Florence and Venice, "A Mid-Summer Night's Dream" in Rome, Naples, Milan and in the Tuscan circuit of City Opera, "Albert Herring "in the circuit and Emilia Cosenza, the sacred fables have been staged in Spoleto, the" Saint Nicholas "in Bari and Montepulciano," The Little Sweep "in Palermo, Rovigo and Modena. They also had different versions of "War Requiem".

The list is not exhaustive but indicative of the success, albeit late in the theater music of Britten. The public has never been absent and "exhausted" are the most concrete evidence of appreciation. On the other hand, just think that his latest work, "Death in Venice", had in 1973 alone as many as 15 different outfits (including Aldborough, where Britten lived in Venice, Edinburgh, Brussels and London) and the following year was landed with great success at the Metropolitan in New York. Her eclectic musical style never refuses tonal writing is captivating and even for those not familiar with the conventions of twentieth century music, while continuing in the great British tradition that began with Purcell, is adopting the technique of Berg to take the form of a theme on which to build each scene by including multiple variations and inserting the varie scene con intermezzi indipendenti che servano da elementi di unificazione musicale e drammatica. Altro aspetto fondante è la capacità di ottenere il massimo colore e calore orchestrale con il minimo di organico (unicamente 13 elementi ad esempio in “The turn of the screw” e una versione a organico ridotto per “Billy Budd” pur concepito, inizialmente, come un grand opéra). Anche in “Death in Venice” l’organico è stringato, con un’eccezione: le percussioni che caratterizzano il mondo di Tadzio, il giovano polacco la cui avvenenza turba il protagonista, l’anziano scrittore Aschenbach.

Grande attenzione, poi, alle voci. Pur nel rispetto delle convenzioni, riscopre countertenor, will accompany him (in "A Midsummer Night's Dream") in rapturous duets with a soprano coloratura. Or, in "Billy Budd", using 17 male voices (five levels, eight baritones, a bass baritone and three low) and no female voice, the voice clear in assigning a quartet of teenagers and ten children who do not sing but the background chatter . In "The Turn of the Screw," however, the voices are almost exclusively women (three sopranos and two voices) in contrast with a bari-tenor can, however, falling by up to eighth by reaching a low voice. Of course, the method of organization change when it comes to music designed to be eseguita in chiesa (Britten era cattolico praticante), in cui il pubblico viene considerato non in veste di spettatore ma di compartecipe all’azione liturgica; quindi, alcune parti erano pensate perché fossero eseguite dall’intera congregazione. Britten si poneva infatti incessantemente il problema di come far vivere il teatro in musica e dare a esso un pubblico, in un’epoca densa di tante altre sollecitazioni (dal cinema, alla tv, alla riduzione dei tempi e dei costi dei trasporti e, quindi, all’aumento del turismo). Per questa ragione, già nel 1946 riapre il Festival di Glyndebourne nel Sussex, ora diventato il più esclusivo dei festival musicali, tanto che non accetta sovvenzioni pubbliche e la lista di attesa To become a member is 20 years. In 1947 Britten

Inglese creates the work group, a touring company with few resources that could bring the opera in even minor cities of Great Britain and also had great success in Switzerland and Holland. For the same reason, although considered "court composer, he moved with his life partner, tenor Peter Pears, and his favorite librettist, Eric Crozier, the poet, in the small Aldeburgh, in Suffolck, where almost all its works are designed for the Jubilee Hall: 300 seats and without a real orchestra pit, until it was enlarged at the premiere of "A Midsummer Night's Dream" in 1960. Faced with a certain avant-garde atonal twelve-tone and which had found its stronghold in Darmstadt, which expanded beyond the organic than expected and that composed by Mahler on texts of Marxist, Britten was "inconvenient" for several reasons: showed that we could innovate, to build up new experiences voiced, and be successful while working with reduced resources and writing scores that had the benefit of the public, drew inspiration from a wide range of sources (the Bible uses the popular legends, the Nô theater Japanese, English literature, Roman history, the narrative of Maupassant and Mann), none of which Marxist but a lot of religious origin or re-read in if not openly a Christian Catholic.

was also "uncomfortable" because, although recognized as a composer of the Court (including the opera "Gloriana", written for the Covent Garden for the coronation of Queen Elizabeth II is perhaps one of his less successful), he kept away from the market of public subsidies: he boasted of being able to go ahead with the Aldeburgh Festival in large part with the ticket and the copyright for his work, which had great success not only in Anglo-Saxon world but also in the Far East, where he drew inspiration for "Curlew River", "The Prince of Pagodas" and "Songs from the Chinese." It was, finally, uncomfortable because, in a Britain where homosexuality was practiced much more heavy that existed against those who put in work, was a "gay" discreet: the age of 23 years at death divided his life with Peter Pears, without ever giving rise to scandal and, perhaps, having a chaste relationship. It's enough to be, for certain intelligentsia, "uncomfortable" even now. And it is inconvenient "Death in Venice" because, in the effective direction of Deborah Warner, the beautiful scenes of Tom Pye, in accurate costumes Clohe Obolenski, lighting by Jean Kalman, dilated and poignant musical direction by Edward Gardner and the excellent interpreters (su tutti spicca John Graham-Hall che la sera della “prima” ha avuto vere e proprie ovazioni) non pone l’accento sull’attrazione omoerotica. Come faceva invece il film di Luchino Visconti, tratto dalla medesima novella di Thomas Mann. Con una fedeltà rigorosa allo spirito dello scrittore tedesco, il tema centrale del lavoro è il rimorso per ciò che non si è fatto durante l’esistenza terrena, il rimpianto della giovinezza e della bellezza perduta, l’angoscia per cosa si troverà dopo la traghettata con Caronte. In una Venezia il cui centro città è sciroccoso e maleodorante, nuvoloso e afoso, mentre al Lido risplende un sole abbagliante.

L’elenco non è esaustivo ma indicative of success, albeit late, of Britten's musical theater. The public has never been absent and "exhausted" is the most concrete evidence of appreciation. On the other hand, just think that his latest work, "Death in Venice", had in 1973 alone as many as 15 different outfits (including Aldborough, where Britten lived in Venice, Edinburgh, Brussels and London) and the following year was landed with great success at the Metropolitan in New York. Her eclectic musical style never refuses tonal writing is captivating and even for those not familiar with the conventions of twentieth century music, while continuing in the great British tradition that began with Purcell, adopts the technique of Berg to take the form of a theme on which to build each scene by including multiple variations and interludes interspersing the various independent scenes that serve as unifying elements of musical and dramatic. Another fundamental aspect is the ability to get the most orchestral color and warmth with minimal staff (only 13 elements, for example in "The Turn of the Screw" and a version with smaller staff for "Billy Budd" although designed initially as a grand opera). Even in "Death in Venice" the staff is concise, with one exception: the percussion that characterize the world of Tadzio, the young Polish mob whose attractiveness the protagonist, Elder writer Aschenbach.

Great attention, then, to items. Whilst respecting the conventions, rediscovers the countertenor and the accompanying (in "A Midsummer Night's Dream") in rapturous duets with a soprano coloratura. Or, in "Billy Budd", using 17 male voices (five levels, eight baritones, a bass baritone and three low) and no female voice, the voice clear in assigning a quartet of teenagers and ten children who do not sing but the background chatter . In "The Turn of the Screw," however, the voices are almost exclusively women (three sopranos and two voices) in contrast with a bari-tenor can, however, to go down to the eighth sino a giungere a una vocalità da basso. Naturalmente, il metodo di organizzazione cambia quando si tratta di musica concepita per essere eseguita in chiesa (Britten era cattolico praticante), in cui il pubblico viene considerato non in veste di spettatore ma di compartecipe all’azione liturgica; quindi, alcune parti erano pensate perché fossero eseguite dall’intera congregazione. Britten si poneva infatti incessantemente il problema di come far vivere il teatro in musica e dare a esso un pubblico, in un’epoca densa di tante altre sollecitazioni (dal cinema, alla tv, alla riduzione dei tempi e dei costi dei trasporti e, quindi, all’aumento del turismo). Per questa ragione, già nel 1946 riapre il Festival di Glyndebourne in Sussex, now become the most exclusive music festivals, so that does not accept government subsidies and waiting list for membership is 20 years. In 1947 Britten

Inglese creates the work group, a touring company with few resources that could bring the opera in even minor cities of Great Britain and also had great success in Switzerland and Holland. For the same reason, although considered "court composer, he moved with his life partner, tenor Peter Pears, and his favorite librettist, Eric Crozier, the poet, in the small Aldeburgh, in Suffolck, where almost all its works are designed for the Jubilee Hall: 300 seats and without a real orchestra pit, until it was enlarged at the premiere of "A Midsummer Night's Dream" in 1960. Faced with a certain avant-garde atonal twelve-tone and which had found its stronghold in Darmstadt, which expanded beyond the organic than expected and that composed by Mahler on texts of Marxist, Britten was "inconvenient" for several reasons: showed that we could innovate, to build up new experiences voiced, and be successful while working with reduced resources and writing scores that had the benefit of the public, drew inspiration from a wide range of sources (the Bible uses the popular legends, the Nô theater Japanese, English literature, Roman history, narrative Maupassant and Mann), none of which Marxist but a lot of religious origin or reinterpreted in Christian if not openly Catholic.

was also "uncomfortable" because, although recognized as a composer of the Court (including the opera "Gloriana", written for the Covent Garden for the coronation of Queen Elizabeth II is perhaps one of his less successful), he kept away from the market of public subsidies: he boasted of being able to go ahead with the Aldeburgh Festival in large part with the ticket and the copyright for his work, which had great success not only in Anglo-Saxon world but also in the Far East, where he drew inspiration "Curlew River", "The Prince of Pagodas" and "Songs from the Chinese." It was, finally, uncomfortable because, in a Britain where homosexuality was practiced much more heavy that existed against those who put in work, was a "gay" discreet: the age of 23 years at death divided his life with Peter Pears, without ever giving rise to scandal and, perhaps, having a chaste relationship. It's enough to be, for certain intelligentsia, "uncomfortable" even now. And it is inconvenient "Death in Venice" because, in the effective direction of Deborah Warner, the beautiful scenes of Tom Pye, in accurate costumes Clohe Obolenski, in the light of Jean Kalman, dilated and poignant musical direction by Edward Gardner and the great interpreters (on all outstanding John Graham-Hall on the evening of the "first" was real applause) does not place the emphasis on attracting homoerotic . How did the film instead of Luchino Visconti, taken from the same novel by Thomas Mann. With a strict fidelity to the spirit of the German writer, the work is the central theme of remorse for what was not done during the earthly existence, the longing for lost youth and beauty, the anxiety for what will be found after ferried with Charon. In Venice, a city whose center and south and foul-smelling, cloudy and sultry, while the Lido shines a glaring sun.
March 7, 2011 13:29
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Discovery Juvenile Court

BETWEEN THE LINES OF THE EUROPEAN TREATIES circumvent a SPECTRUM: The private debt Fooglio Journal March 7

AND THE PAPER IS ...
BETWEEN THE LINES OF THE EUROPEAN TREATIES circumvent a SPECTRUM: private debt. The external debt crisis that is gripping many states dell''eurozona, argues Jerome L. Stein Brown University in CESifo Working Paper Series No.3348 ("The Diversity of Debt Crises in Europe"), is very different from those in the past have focused on Latin America, Asia and Russia. So the treatment adopted in those cases - substantially increased regulation and stricter control of public finances - can only be part of the solution.
in the euro, the Treaty first the Maastricht and Stability Pact and already contained the elements for an effective regulation and strict controls but related only to the public finances and its aggregates. In these aggregates, particularly the balance of public finance, has been given the attention of "controllers" technical and political. Both the first than the latter ignored the problem of over-indebtedness (especially abroad) of the private sector, the true spring of the crisis. Stein admits he does not have a recipe to avoid the recurrence of a crisis of over-indebtedness of the private sector, but points out that in the schemes he's working on the Eurogroup, it will deepen the theoretical foundations and empirical finding rimedi tali da non esacerbare i controlli su banche e imprese. (Giuseppe Pennisi)

John Deere Snowmobile For Sale

Don Giovanni panemensi origins and velvety voice in Milano Finanza March 5

Don Giovanni ha origini
panamensi e voce vellutata
A Bologna fino al 13 marzo è in scena un allestimento del

mozartiano Don Giovanni che ha debuttato nel piccolo Teatro Lauro Rossi di Macerata nel 2009 ed è stato replicato

per due sere ad Ancona nel 2010. È dunque la prima
volta che la concezione atemporale di Pierluigi Pizzi,
basata più sull’inganno che sulla seduzione, affronta un

grande teatro e un grande palcoscenico. Il gioco funziona bene anche perché l’azione scenica è stata progressivamente

affinata:
parte del
cast,
in these three years, not
has changed. An important contribution

is

by Tamás Pál, a director
Hungarian conductor very accustomed to Mozart. At
like few other concert (for example
Gustav Kuhn) has also considerable experience of the royal theater.
So the orchestra pit work full agreement with
the stage, while there were discrepancies in Macerata. Pál Tamás
most convincing Richard Frizza
which debuted in production. The installation requires
singers who can act and dance. Stands out among all
nmon Ford, a young African-American baritone
home Panamanian voice smooth, very attractive
and great stage presence. It is a Don Giovanni that deceives
cold, almost devoid of passion.
the top level women's group, especially Carmela Remigio, but also
Anna Corvino and Manuela Bisceglie. Good
expert Andrea Concepts (Leporello), the young lyric tenor
Argentine Juan Francisco Gatell (Don Ottavio)
and the rest of the company.
The show is further evidence that over time the good shows
improve. (Reproduction reserved)

How Can I Tell If My Tea Set Is Real Silver

The three errors that block the Italy Sussiadiario March 3

FINANCE / 2. The three errors that block
Italy Giuseppe Pennisi
Thursday, March 3, 2011
Imagoeconomica
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SCENARIO / Fortis: there is a new "attack" the U.S. finance the real economy

FIAT / I "tricks" Marchionne to take Chrysler and Volkswagen and Alfa Romeo, P. Annoni Under the new procedures for the coordination of economic policies, by April 15 Italy (like the rest of the Eurozone) will simultaneously submit stability programs and reform programs. It is a major breakthrough not only in order to promote consistency between the budget laws and reform across the Eurozone, but also to make sure that economic growth and financial stability are an effective combination.

At the time of writing this note, the stability law was approved (and updated through a decree called "milleproroghe") and the National Reform Plan (NRP) approved by the Council of Ministers of 5 November is under Update from the Ministry of Economy and Finance. Before finalization, the Government and Parliament will have "views and proposals" from the CNEL (National Council for Economy and Labour).

The NRP Nov. 5 outlining the reforms that would bring the rate of increase in GDP from the low shot past fifteen years to 2% per year since 2013. In recent weeks, is conjecturing a "whip" of measures that would bring the rate of growth at 3-4% per year from 2013-2014. An examination of the PNR would be premature: the speed in which data are evolving political events of great economic importance in the Mediterranean Basin, it will be desirable to do so hot (when you know the details) in the daily press. Is worth asking, however, true to what the Italian economy can grow, that which is what economists call the "potential rate of growth" in the light of the allocation of inputs and their productivity (two factors known or at least easily estimated).

In 2009 there was a debate on an estimate of the European Commission's view that this potential rate would be around 1, 3% per year, while more and more of a good third of 1% that has marked the past three decades. The debate was mostly among economists, few politicians intervened (not willingly). He finished in the space of a few weeks, because estimates of the European Central Bank (ECB) and the American National Bureau of Economic Research (NBER), while following different methods between themselves, both with respect to the procedures adopted by the Commission, leading to similar conclusions: that posed the most optimistic potential growth rate at 1, 7% per year. In light of this analysis, even 2% of Pnr last autumn seems ambitious.

What is the main constraint? The aging of the population - in part a result of having neglected for decades, the family policy - has made it less productive than our most important resource, the "human capital". Two-thirds of the country - the dozens of studies documenting - there is little in "social capital", the ability to network all the human capital of individuals and to create a system, it is the result of a secular individualism that emphasizes the poorly understood ' opportunism with respect to cooperation.

The Best Razor Scooter

* "military transition" and development of North Africa and the Middle East The Velino March 2

ECO - * "military transition" and development of North Africa and Middle East

Rome, 2 March (Il Velino) - The political developments of recent weeks in North Africa and the Middle East raises a number of economic concerns. The most immediate (and more are affecting institutions econometric analysis and the press) about the effects on Europe (and in particular on Italy), the soaring commodity prices - especially oil, iron ore and food - with its impact on inflation of costs, and the feared wave of immigration. It should, however, also begin to ask what may be the best institutional arrangements that can promote a long-term development of the area, without which it will be difficult conjecture in a significant reduction of tensions in a region where 60 percent of the population is under thirty years and is, for the first time in the history of the lower shore and eastern Mediterranean, not only literate but also accustomed to the use of technology information and communication. Able, therefore, to network, organize and be heard. The U.S. State Department - reads the international press - predict the evolution of constitutional monarchies in the (mostly Arabs) to form the constitutional monarchy and in the other republics. Indeed, the institutional framework that seems to loom could be very different and favor the role of the military. In Egypt, there was a real "coup" by the staff. Others are possible in Libya (both in the new Republic of Cyrenaica is what emerges from Tripolitania) and in Bahrain, and Morocco (where the infection is extended). A similar process seems to boil in a pot in Jordan (among various groups or factions of the military). The same Arab monarchies will be very different from that of Westminster and to hold as much, especially, to govern and initiate development processes will have to give the military a bigger role than in recent decades.
What are the implications for growth and development in the medium and long term? Posed the problem, nel lontano 1989, Douglas North (a cui due anni dopo sarebbe stato conferito il premio Nobel per l’Economia) e Barry Weingast, in un saggio considerato un classico: guardavano, però, non al Nord Africa e al Medio Oriente ma all’evoluzione verso la modernizzazione in Europa Occidentale. Lo loro risposta fu chiara e netta: quando una classe dirigente non è più in grado di impegnarsi in politiche che promuovono crescita e sviluppo, deve cedere lo scettro a un “settore più ampio” della società. Una lettura “buonista” del saggio di North e Weingast ha fatto sì che tale locuzione venisse spesso interpretata nel senso di dare il potere a una classe dirigente che emergesse dalla “società civile”. A careful reading of the work indicates, however, that North and Weingast had in mind a solution "authoritarian" to suspend the democratic institutions precisely in order to foster policies for growth and development. A study, still unpublished, F. Clemson University Andrew Hanssen and Robert K. Fleck of Montana State University, uses quantitative data are truly unique to apply the "theorem" of North and Weingast evolution of economic development in ancient Greece, the conditions, in some respects, resembled those of countries in the early stages of economic progress such as those of the southern and eastern Mediterranean. The indicators are statistics (obviously fragmentary) on food, on the construction of public buildings, the evolution of cities and roads.
The conclusion is that the city-state's most successful classical Greece were ruled by "tyrants", with the support of the military. The "tyranny" had a limited duration and implement policies with a strong impact on growth (essential to keep the scepter). The creation of wealth gradually led to forms of collective management of power (and a downgrading of the role of the military). A historical example is recent and has not so much fitting into Turkey of Ataturk but in Egypt, where the process of modernization and development began when the reins of power were firmly in the hands of Mehmet Ali and his troops. Ali was an Albanian commander of fortune, conquered the country in 1805 by extending its influence up to the present Sudan, training (abroad), a new ruling class and understanding how the high quality of Egyptian cotton could be the basis of a thriving textile industry. Split Egypt from the Ottoman Empire, endowed with a seemingly political institutions similar to those prevailing in Europe, but essentially such as to take a step back to his military only when the development was self-sustaining (in the design of the time). A curiosity: a lasting legacy of Muhammad Ali is that the court has Italian spoken (for Albanians had "learned the language") to the Second World War: Faruk was the first and the last king of Egypt in fluent Arabic. He was ousted when the country is stagnant, in the early decades of the Nasser government (a military backed by the military) it gave the country an industry survey and a modern irrigation system.

(Giuseppe Pennisi) March 2, 2011 20:09

Black & White Sensoual Sketches

Opera / "Don Giovanni" suspended between the Zealots and Herodians Velino March 2

CLT - Opera / "Don Giovanni" suspended between Zealots and Herodians

Restaurants Auctions Calgary

* "military transition" and development of North Africa and the Middle EAST Velino March 2

ECO - * "military transition" and development of North Africa and Middle East
Rome, 2 March (Il Velino) - The political developments of recent weeks in North Africa and the Middle East raises many economic concerns. The most immediate (e che maggiormente stanno interessando gli istituti di analisi econometrica e la stampa) riguardano gli effetti sull’Europa (e in particolare sull’Italia) dell’impennata dei corsi delle materie prime - soprattutto petrolio, minerali ferrosi e alimentari - con le sue ripercussioni sull’inflazione da costi, e della temuta ondata migratoria. Occorre, però, anche cominciarsi a chiedere quali possono essere gli assetti istituzionali che meglio possono promuovere uno sviluppo di lungo termine dell’area, senza il quale sarà difficile congetturare una riduzione significativa delle tensioni in una regione dove il 60 per cento della popolazione ha meno di trent’anni ed è, per la prima volta nella storia della sponda lower and eastern Mediterranean, not only literate but also accustomed to the use of information technology and communication. Able, therefore, to network, organize and be heard. The U.S. State Department - reads the international press - predict the evolution of constitutional monarchies in the (mostly Arabs) to form the constitutional monarchy and in the other republics. Indeed, the institutional framework that seems to loom could be very different and the privileged role of the military. In Egypt, there was a real "coup" by the staff. Others are possible in Libya (both in the new Republic of Cyrenaica is what emerges from Tripolitania) and in Bahrain, and Morocco (where the infection is extended). A similar process seems to boil in a pot in Jordan (among various groups or factions of the military). The same Arab monarchies will be very different from that of Westminster and to hold as much, especially, to govern and initiate development processes will have to give the military a bigger role than in recent decades.
What are the implications for growth and development in the medium and long term? Posed the problem in 1989, Douglas North (which two years later was awarded the Nobel Prize for Economics) and Barry Weingast, in an essay considered a classic, watching, however, the North Africa and the Middle East, but the evolution towards modernization in Western Europe. The answer was clear and clean them, when a ruling class is no longer able to engage in policies that promote growth and development, must give the scepter to a "wider area" of society. A reading of "feel-good" in the rate of North and Weingast has ensured that this term was often interpreted as giving power to a ruling class that emerged from the "civil society". A careful reading of the work indicates, however, that North and Weingast had in mind a solution "authoritarian" suspend the democratic institutions that own policies to encourage growth and development. A study, still unpublished, F. Clemson University Andrew Hanssen and Robert K. Fleck of Montana State University, uses quantitative data are truly unique to apply the "theorem" of North and Weingast evolution of economic development in ancient Greece, the conditions, in some respects, resembled those of countries in the early stages of economic progress such as those of the southern and eastern Mediterranean. The indicators are statistics (obviously fragmentary) on food, on the construction of public buildings, the evolution of cities and roads.
The conclusion is that the city-state most successful in classical Greece were ruled by "tyrants", with the support of the military. The "tyranny" had a limited duration and implement policies with a strong impact on growth (essential to keep the scepter). The creation of wealth gradually led to forms of collective management of power (and a downgrading of the role of the military). A historical example is recent and has not so much fitting into Turkey of Ataturk but in Egypt, where the process of modernization and development began when the reins of power were firmly in the hands of Mehmet Ali and his troops. Ali was an Albanian commander of fortune, conquered the country in 1805 by extending its influence up to the present Sudan, training (abroad) a new leadership and understanding how the high quality of Egyptian cotton could be the basis of a thriving textile industry. Split Egypt from the Ottoman Empire, endowed with a seemingly political institutions similar to those prevailing in Europe, but essentially such as to take a step back to his military only when the development was self-sustaining (in the design of the time). A curiosity: a lasting legacy of Muhammad Ali is that the court has spoken Italian (for the Albanians had "learned the language") to the Second World War: Faruk was the first and the last king of Egypt in about Arabic correctly. He was ousted when the country is stagnant, in the early decades of the Nasser government (a military backed by the military) it gave the country an industry survey and a modern irrigation system.
(Giuseppe Pennisi) March 2, 2011 20:09

Printable Birthday Cards

Who wants DEGLOBALIZZATE Wagner Ants in March

Who wants DEGLOBALIZZATE Wagner

01/03/2011 sent by the New York Times on five continents and author of a book (which appears on a hundred titles in English) entitled, precisely, "The Globalist. Born in Saxony, Wagner ended up as a boy in the North Sea where the accident because he risked being chased by creditors, he tried a risky crossing. Wandered to Paris in search of work. He became a young director of the Theatre of Dresden, but had to escape from German-speaking countries as an alliance with Bakunin (just after the Saxon considered an icon of the reaction!) And sentenced to death. In exile, he turned half of Europe, conceiving the beginning of The Ring of the Nibelung on a bench on the promenade of La Spezia. After a long stay in Switzerland, released in German-speaking countries, mainly because of the admiration that the King of Bavaria had for him, became a permanent home there (call, literally, Residence illusion) but continued to wander, especially for Italy. Ravello and Acireale, for example, are competing for credit for having inspired the second act of Parsifal, of which the interior of the Cathedral of scenes from the second picture is certainly the first and third act. From "Globalist" iperglobalizzato, died in Venice.

Why are we talking about? On the occasion of the forthcoming bicentenary of his birth in 1813, the Teatro alla Scala and the Staatsoper Unter Den Linden (temporarily transferred to the Schiller Theatre, for renovation) are carrying out an ambitious project: a new Ring of the Nibelung work to be carried out per year (to be performed both in Milan and Berlin) and reproduce in full in 2013 as the Scala at the Staatsoper .
The musical direction is entrusted to a big stick, that Daniel Barenboim, already in the early nineties, produced a good ring, the drama club and stage a very "trendy" the Toneelhuis of Antwerp, led by Guy Cassiers ( sets and lights are designed by Enrico Bagnoli, costumes by Tim Van Steenbergen.) So far in Milan are considering the first two operas of the tetralogy: "prologue" in the primordial world of gods, giants and dwarfs (The Rhinegold), and "first day" (The Valkyrie) which descend to the ground and with which he inaugurated La Scala season 2010-2011.

are staged in Berlin in March. The dramatic reading on the installation stage and the Italian critics took a different attitude than the German and French. Indeed, there are different sensitivities. The Italian opera houses (and thus the audience and critics) tend, rightly or wrongly, to be more traditional than those of other countries. Also, not everyone appreciates the time taken, sometimes chamber, the speech more than tight, but sometimes bandieristici, some of our own Conductor. There
, However, a point that deserves to be discussed. The project directors - referred to in the program notes of The Rhinegold are devoted some 50 pages - is based on an assumption at least questionable and somewhat 'antiquated: the Wagnerian Nibelungen saga is read as a class struggle against the submissive globalization of capitalism. Wagner is not only a "Globalist" iperglobalizzato, but he loved the luxury, especially at the expense of others, from the clothes in fine silks and velvets in large apartment buildings (often never soldered). It was the opposite of a black block. Instead, he kept away from people who dressed and smelled bad. Without doubt, in The Ring is a strong idea of \u200b\u200bpalingenesis but from the world of the old Germanic a quello umano, anzi troppo umano. Fortunatamente, in Valchiria il polveroso assunto proto marxista di Cassiers si è avvertito, grazie a Barenboim, molto meno che ne L´Oro del Reno. Vedremo cosa c´è in serbo per la terza puntata, Sigfrido.

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Ana Mia Thinsp Quotes

We can grow more? Ants March

Possiamo crescere di più?
01/03/2011 Europe. The social partners and the CNEL presented their observations at the end of February. Earlier this month, in addition, the Government has set objectives much more ambitious (a GDP growth of 3%, whereas the PNR is projected to increase gradually to reach 2% in 2012) and a more aggressive program of liberalization. While the draft of the PNR has received little attention, the new additional measures have been widely commented on in various ways those who saw them as a genuine return to the political reforms promised in 1994, who considered it as a ploy to prolong the duration of an executive which would be decoction.
Both these readings are largely biased. So there will be the central elements of verifica che verrà fatta in sede europea. I punti chiave sono altri: a) la credibilità del Pnr e dei nuovi obiettivi e strumenti; b) le condizioni per fare comunque crescere l´Italia dopo tre lustri di stagnazione. Sono strettamente interconnessi. Ricordiamoci le vicende dell´estate 1992 e della primavera del 1995. Nel primo caso, appena firmato il Trattato di Maastricht, demmo, a torto o ragione, la sensazione che agli impegni non sarebbero seguiti i fatti: nonostante la maxi-manovra adottata dal governo Amato in agosto, in settembre ci sospendemmo dallo Sme e la lira perdette il 30% del proprio valore. Nel 1995, la riforma della previdenza venne approvata mentre i mercati davano nuovi colpi al valore della lira e solo dopo il varo riacquistammo international trust. Especially as econometric studies of the EU Commission and the ECB raise 1, 3%
the potential rate of growth because of demographic structure and the productive apparatus of the country.

What to do to grow more and better? No doubt a program of liberalization, however, already provided in the NRP and a reduction of public debt could help. But not sufficient.
Given that a significant impact on population structure, it takes at least three decades of policy "Christmas", and at least fifteen years to have impacts on human capital (through better education and training), in the short to medium term should be think these tools (in addition to those already in the PNR):
a) the restructuring of the "value chain" (that is how it organizes to increase the value of what is produced) occurred in the last twenty years (the agreement Volkswagen can be taken as a watershed), while France, Italy, Spain and other outsource services from manufacturing (through various forms of outsourcing), Germany businesses accentuate the integration of services in manufacturing. This strategy has been successful and has led to both economies of scale and internationalization of technological externalities, and often outsourcing has often led outsourced services in the maze of inefficient regulation competenza di enti locali. Il processo è descritto con cura nel rapporto su ricerca, innovazione ed andamento tecnologico in Germania, pubblicato l´autunno scorso dal Politecnico di Monaco di Baviera;
b) l´aumento delle ore di lavoro effettivamente lavorate. Secondo i dati Ilo, la media italiana è di 1450 ore, rispetto alle 1790-1670 di spagnoli, tedeschi e britannici.
Ciò comporta una vera rivoluzione sia nelle abitudini sia nei servizi sociali (integrati nel manifatturiero nelle grandi imprese tedesche e francesi);
c) portare le liberalizzazioni a livello locale nella giungla del capitalismo municipale, spesso preda di oligopoli collusivi (eloquente il caso dei taxi a Roma), ma ciò richiede probabilmente a constitutional rule.
With a determined effort by all this could lead to an increase of 2.5% from 2013. © Playing

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OSR, the orchestra leading the symphonies Italian Worldwide

CLT - Lyrical / OSR, which leads the orchestra and symphonies in the world Italian
Rome, 28 February (The Velino) - As nearly half of the 2010-2011 season, it's good to get back pay attention to the Orchestra Sinfonica di Roma (OSR), often neglected even by the press because of the weight of the Roman Symphony Orchestra dell'Accademia Nazionale di Santa Cecilia, whose budget is ten times higher. It is not neglected, however, by his fans (many young people), on Sunday afternoon and Monday evening, the crowd because of the large auditorium of Reconciliation, also because of the policy of low prices for subscriptions and for individual concerts. They also formed an association of friends OSR organizing seminars to accompany the musical culture and travel on tour. An example at the same time interesting and stimulating public participation in the activities of an orchestra who see them.

This year the season is devoted almost entirely to three "full" - Beethoven, Mendelssohn and Mahler - to coincide with important anniversaries. However, the OSR has not forgotten too often forgotten Italian symphonic music (after having recorded the complete of Martucci, sta ora arrivando nei negozi di dischi quella di Casella). La riscoperta del sinfonismo italiano è infatti uno degli elementi che l’hanno resa celebre nel mondo: in Germania, Austria, Polonia, Gran Bretagna, Belgio, Spagna, Russia, Nord America, America Latina e Cina. Francesco La Vecchia, che ha creato e dirige l’Orchestra, quest’anno dirige l’integrale di Mahler oltre che a Roma, anche a Budapest e a Seul. Un vero e proprio tour de force che pochi direttori d’orchestra affrontano in un arco di tempo così breve. Il concerto in programma il 6 e 7 marzo a Roma è interamente dedicato alla nona sinfonia, una struggente riflessione sulla morte del maestro boemo, considerato a ragione il ponte tra l’Ottocento and the twentieth century.

The last two concerts this month (20 to 21 February and 27-28 February) were instead a trip in the nineteenth century. The first was directed by a young Chinese conductor, Yang Yang, and was known as a solo violinist of Ukraine, Vadim Brodsky, who until the late eighties has been forbidden to play outside the Soviet bloc. The second was directed by La Vecchia, a young soloist, and beautiful, the Korean violinist Fabiola Kim, already very popular both in Asia and the United States. A trend in line with the objectives of OSR, it seeks to explore new artists, often little known in Italy and taking advantage when their career is not più solamente una promessa ma si sta lanciando a livello internazionale.

Nel primo concerto, l’Ottocento è stato colto nelle sue sfumature più nettamente romantiche con il Concerto n. 4 in Re minore per violino ed orchestra e con la Settima sinfonia di Beethoven. Nel secondo si è invece partiti con due notissime composizioni di Mendelssohn (la breve ouverture Die Hebriden e il Concerto per il violino e orchestra in Mi minore) per approdare al grande sinfonismo italiano a cavallo tra la fine del secolo e l’inizio del Novecento (La Serenata, La Govotta e la Giga di Martucci) e chiudere con l’unica breve Symphonie di Wagner, il Siegfried Idyll. Un viaggio appassionante accolto con grande apprezzamento del pubblico, che has had its high points (and to greater effect) in the virtuoso Vadim Brodsy and Fabiola Kim. By popular demand, both have a granted.
(Hans Sachs) February 28, 2011 13:13
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Keeping A Clean Bunny Cage

NEVER PUT TOO POLITICAL CAPITAL IN THE HAND The Gazette February 28

AND THE PAPER IS ...
NEVER PUT TOO POLITICAL CAPITAL IN THE HAND. While the physical and financial capital can be eroded if you use too much and hurt, the capital of "political" is increased if you use it and uses it well. But what do the politicians of their financial capital? It is not farfetched a question, because in countries like the U.S. mid-term policy for 30 percent of GDP. And in Europe, 50 per cent. It is assumed that allocation to do so with the same shrewdness with which The good father spends the activity in the nucleus. Andrew Eggers and Jens Hainmueller Yale University, Massachusetts Institute of Technology have taken the trouble to do some 'accounts and to publish a preliminary version of the "Microeconomcs: Asymmetric and Private Information eJournal" work "Political Capital: The (Mostly) Poor Performance of Congressional Stock Portfolios, 2004 to 2008. "
The picture is not encouraging: while a sample study of the nineties showed that MPs knew Americans go in and out of this or that action timing, the stock portfolios of U.S. senators and representatives, between 2004 and 2008, it appears to be went below the average market indices of 2-3 percent per year. A factor may be that investing in a "disproportionate" - and Eggers say Hainmueller - venture capital to companies in their constituencies. With the result that you are often not only poor performance but also with conflicts of interest. (Giuseppe Pennisi)

Can You Wash A Duffel Bag/

Photos Cross Country 2011 Cross Country

PHOTOS: Student Sport Games -
Cross Country - Gioiosa Marea 17/02/11

Cat Student / and



Fantastic Profs . from left: M. Cavallaro - G. Pellegrino - P. Geraci - F. Ripa

Team ITIS E. Majorana Milazzo

LS Spadafora 1 ° class. Cat Cadet
Iti Barcelona 1, Cat Students
Iti Milazzo 2nd place. Cat Students