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Archivio febbraio, 2008 :

Oscars 2008

lunedì 25 febbraio 2008

Purtroppo (come previsto) Viggo non ha ottenuto l’Oscar, peccato sarŕ per la prossima volta! Decisamente quest’anno ama le giacche lunghe come potete vedere da alcune foto dall’evento, lo ha accompagnato la sua deliziosa nipote Sidney, non poteva mancare la bandiera del San Lortenzo naturalmente!

© Reuters

© AP Photo by Kevork Djansezian


Recensione di “Time Waits For Everyone”

mercoledì 20 febbraio 2008

da Blog Critics una nuova recensione di Richard Marcus del CD Time Waits For Everyone 

Music Review: Viggo Mortensen – Time Waits For Everyone

Written by Richard Marcus
Published February 20, 2008

It’s hard to remember by looking at it that a piano is a stringed instrument. Yet under the hood of every grand, baby grand, and upright piano, are wires of various lengths tuned to vibrant to the frequency equivalent of each note in one of its eleven octaves. In fact until the early 1700s when Bartolomeo Cristofori created the first equivalent of the modern piano by installing hammers to hit the strings when a key was pressed, harpsichords and clavichords had hooks that plucked the string corresponding to each key.

Neither the harpsichord nor the clavichord was suited for concert settings as they were invariably  drowned out by the rest of the orchestra. The new instrument took its name of pianoforte because Cristofori’s modifications gave it the ability to be able to play both soft (piano) and strong (forte). Nearly as important as the ability to control the volume, the hammers also increased the control a player had over the instrument’s ability to sustain a note.

In spite of what must have been a sizeable difference in quality of tone and volume, the new instrument didn’t become popular until the rise of the Romantic Movement toward the later part of the 1700’s. With the movements’ heavy emphasis on emotions in the arts, the piano’s ability for expression made it increasingly the instrument of choice for both performers and composers. If you have ever heard a harpsichord, you’ll know that there is nothing it can do to match the emotional power generated by the rolling thunder of a piano’s bass keys or the ethereal, delicate tremolo that can be achieved at the other end of the keyboard.

While the emotional extravagances of the Romantic era are a thing of the past, piano players are still utilizing the instrument’s diversity of expression as a means of recreating an emotional record of a time, place or situation. Using tone and sound in lieu of words artists have created the equivalent of musical poems in the hopes of creating a more direct emotional connection with their audience than is possible with words.

Sound has the ability to communicate on a universal level that isn’t possible with words. For while a sound or a rhythm can be understood by anyone, a word can only be comprehended by another who understands its language. While it’s true that each person might hear something different in the same note, or the same progression of notes, there’s no barrier standing in the way of their attempted comprehension. Viggo Mortensen’s recent recording, Time Waits For Everyone is a wonderful example of these types of creations. (Continua…)

Articolo da Men’s Vogue

mercoledì 20 febbraio 2008

Un’interessante articolo da Men’s Vogue con foto inedite

The Great Dane
Viggo Mortensen can swing a broadsword as Aragorn or neatly fillet a Russian mobster. But off-screen, the Oscar contender is a life-giving force, playing big brother to a band of poets, painters, and searchers like him.

By Phoebe Eaton


While filming, the actor scoured New Mexico for local crafts and places to get away.
(Photo: Norman Jean Roy)

Is that a yawn? O.K., so Viggo Mortensen’s yawning. He’s seriously tired and in some kind of mood, and let’s respect that, roll with it, because the hours he’s keeping here in New Mexico have just been preposterous. First, there are the 4:00 A.M. wake-up calls he’s grimly endured on the set of Appaloosa. And the locals hired to work Mortensen’s cowboy picture (who plainly adore him) say they’ve never seen such a hard-partying cast and crew as the Appaloosans, and God only knows what happened last night, but there he goes again. Another yawn. This is his only day off and it kind of got shot and he didn’t get to do some stuff he really wanted to do, and then, his obscure Argentine-concert CD got stuck in the player inside his trailer, because he’s never not two-timing the movies with all the rest of his esoteric interests. Some union characters finally smashed the thing open and fished the CD out and he tipped them mighty good, but he’s still got an hour-and-a-half drive ahead of him back to Santa Fe in his Dodge pickup—that is, after he figures out just where and how we’re going to while away the next few hours together.

The frostbite-blue eyes snap onto mine for a split second. If the brow is a two-way mirror to the soul, his is cracked in several places by Despair and Inner Torment. Mortensen is justly celebrated in Hollywood for how he telegraphs both, which are reading in his face right now. A face rendered (almost) unrecognizable with that distracting droop of a Wild West mustache, the familiar starburst cleft in his chin forested over by a neat beard. In his black skullcap and flannel shirt, jeans and dirt-caked Tasmanian sheep-station boots, Mortensen, 49, has the sullen affect of a man who’s just found a ticket on his windshield.

There had been talk of a country drive, but the sun hit the deck at 5:00 P.M., and so we trudge upstairs at the Abiquiu Inn, a 10-minute drive from Georgia O’Keeffe’s Ghost Ranch, and attempt to make ourselves comfortable in this spare attic that is one of New Mexico’s ubiquitous art galleries. Some folding chairs are produced. (Continua…)

Recensione del CD “At All”

martedì 19 febbraio 2008

da Malibu Art Reviews una recensione dell’ultimo Cd pubblicato da Viggo “At All”, andando al link dell’articolo potrete ascoltare uno dei pezzi del CD.

The Moods of Viggo Mortensen in At All

by Kriss Perras Running Waters |

The following is just one woman’s feelings about Perceval Press’ recent CD release, “At All” by Viggo Mortensen. The work is intellectually challenging and may draw entirely different emotions from another listener. This release is a near solo work, with only one track containing work from Buckethead and Travis Dickerson, a combination we have become accustom to hearing from Perceval. This writer-artist would disagree with categorizing the works on this CD as experimental music, as that term would be a shallow take completely overlooking the deeper elements of “At All.” While recognizing, in the words of the great Jazz artist Elliott Sharp, “no improvisation is ever truly free,” the works on “At All” are that of a Free Jazz Style. Or in classical terms, Impressionism. At risk of offending an artist who loathes to fit into a category – or to reference self – Mortensen uses suggestion and mood to create atmosphere in this impressionistic work.

A famous example of an impressionist composer who utilized the power of musical suggestion to create atmosphere was the Italian composer Ottorino Respighi in his symphonic poem “The Pines of Rome,” also known as the “Roman Trilogy” – “Fontane di Roma” (Fountains of Rome 1915-1916); “Pini di Roma” (Pines of Rome 1923-1924); “Feste Romane” (Roman Festivals 1928). The “Pines of Rome,” specifically in the movement “The Pines of Villa Borghese,” uses a blaring forte trumpet to recreate the sound of children crying, and the harp, flutes and strings to create childish taunting sounds plus a chorus of instrumentation in question and answer format that creates sounds of a group of children making fun of one another. These were sounds Respighi heard while at this Villa. Much like Monet who painted outdoors, Respighi painted his musical brushstrokes outdoors and composed what he saw. (Continua…)