Why are NON-PROFIT foundations created by bankers presenting a SATANIC PRODUCTION PROMOTING THE DEVIL AND ALL THINGS OF DARKNESS, On HALLOWEEN 2024??
I find that rather bizarre. You should know by now that Philanthropy is not about caring for others and selfishly giving to help those less fortunate. You should also know that most NON-PROFIT organizations, including religious ones and Churches, are scams!!
But, read on, I am sure you will find this post interesting on many levels.
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Halloween concert to honour Satan staged in Italian church
In the church of San Dionigi in Vigevano northern Italy, on loan by the diocese to a banking foundation, a concert in honour of the devil will be held on the night of Halloween, complete with devilish dress code. The curia, when questioned by the Daily Compass, pleads its ignorance, but will make enquiries. The prophecy of the Holy Curé d’Ars comes true
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The name Dionigi is an Italian masculine name and surname that comes from the Greek name Dionysos, which means “of Dionysus”:
Dionysos
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The name of the Italian city of Vigevano is thought to come from the Latin word vicus, meaning “settlement”, and a Germanic personal name, possibly Gebwin. This would translate to “Gebwin’s Settlement”. Vigevano is a city and municipality in the province of Pavia, in the Lombardy region of Italy. It’s a historic art town and center of shoemaking, and is located in the rice-growing Lomellina district. Vigevano is known for its Renaissance Piazza Ducale, which was built in 1494, and the Castello Visconti, which was built in 1492.
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The etymology of Geb’s name is unknown, but Geb is the Egyptian god of the earth, farming, and fertility. He was also known as Seb or Keb.
Here are some other facts about Geb:
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Where do names ending in ‘win’ come from? In Old English, the word, win, sometimes written wyn or wine, means “friend”, “protector” of “beloved”. It can occur as the second element of a compound as in Godwin (ultimately godes wine) or the first element as in Winfriþ (the actual name of the 8th century English missionary also known as Boniface). However -wen, –wyn or -win is also an ending to several Welsh names, including Arwen, Arwyn and others. I couldn’t quickly find more information on the Welsh names. in Welsh Win – Meaning: Fair; Blessed; To be successful or victorious
A winner by name and a winner by nature, Win is a spot-on choice for your little victor. Win is a word in English and a name derived from the Welsh Wyn. Its Welsh roots grant it the meanings “fair” and “blessed,” SO GEB THE BLESSED!! Would be a fair assumption.
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Ecclesia 26_10_2024
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The Holy Curé d’Ars often said: ‘Take Masses away from churches and devils will dance on altars’. Taking into account what is about to happen on 31 October in Vigevano, an Italian town in the northern Italy, the phrase couldn’t be more true. In fact, since 2009, the Lombard church of San Dionigi has been on loan by the diocese to a banking foundation that makes use of it for cultural purposes. Therefore, since that date, the church has no longer been used for religious purposes. This does not mean, however, the building has ceased to be a church, and despite the common use of terms such as ‘former church’ or ‘auditorium’. And since Holy Masses have been removed, the devils have punctually entered and brought witches and ghosts with them to celebrate, confirming Saint Jean-Marie Vianney’s prophecy.This is the significance of an event that local newspapers have begun to publicise and which seems to be the town’s main cultural activity on 31 October, a day that by now, with an increasingly consumerist mentality, is dedicated to celebrating Halloween.‘A concert of classical music and opera arias dedicated to demons, ghosts and witches as narrated by the great 19th-century romantic music repertoire’. A decidedly devilish programme, without doubt. In the past, it was hidden below the sweetened veneer of children and trick-or-treating... today we have calmly progressed to concerts in honour of Beelzebub. What else do we need to know?Maybe this: the concert will be held, says the article, ‘in the evocative setting of the Auditorium San Dionigi in Piazza Martiri della Liberazione’, but don’t be misled by the word. It says auditorium, in reality it is an actual church and a particularly beautiful one at that. It is a church that the diocese loaned 15 years ago to the Piacenza and Vigevano Foundation, ‘a private non-profit organisation of banking origin, whose mission is to promote the social and economic wellbeing of the territory’. So this is the social wellbeing that the organisation will promote on 31 October: a devils and witches-themed concert, complete with a dress code: ‘We welcome the presence of the public dressed up in theme: witches, demons, vampires and ghosts are welcome’.
The programme is based on what the musical production – also of great quality – has to offer on the theme of the macabre and the horrific: from the ‘Scene of the Wolf’s Glen’ from the German opera ‘Der Freischütz’ (1821) by Carl Maria von Weber where in a ‘wood inhabited by spirits, under a moon dripping with blood, a wicked pact is made between a desperate man and the Devil: the seven magic bullets to carry out the curse are forged’.
It continues with a great ‘classic of the “demonic” repertoire: “Night on Bald Mountain” by Russian composer Modest Mussorgsky (1867), performed live in the piano version for four hands by Federica Casella and Antonio Bologna and accompanied by the images of the mythical final chapter of the animated masterpiece “Fantasia” by Walt Disney in which we see a powerful demon summoning spirits and demons to himself by appearing on the summit of Bald Mountain’.
Once more: ‘The Devil is again the protagonist of the great aria “Sono lo spirito che nega” from Arrigo Boito’s “Mefistofele” (1868)’ and then ‘Giuseppe Verdi’ who ‘gives us a truly evocative number, performed by the Bottega dei Suoni choir together with the Maestri Cantori Chorale, with the witches’ song ‘Double, double toil and trouble’ from “Macbeth” (1847)’.
And then the legendary ‘Trillo del Diavolo’ (Devil’s Trill) by Giuseppe Tartini (1713), which ‘legend has it, was performed by the Devil himself’. And again: the aria ‘Quell’uom dal fiero aspetto’ from the opera ‘Fra Diavolo’ (1829) by Daniel Auber where ‘a much-feared bandit is called Fra Diavolo because of the pride of his appearance and the fear he inspires when he appears’. The well-known ‘Danza macabre’ (1874) by Camille Saint-Saëns, performed on the piano by Antonio Bologna, could not be missing.
In short, works of undoubted artistic value, without doubt, when taken individually in their context. But when deliberately projected within the framework of the demonic give the effect of what the organisers, to whom the Foundation gave free rein, wanted to call a concert ‘in honour of the devil’.
Evidently something must have escaped their notice, and it cannot be ruled out that the sloppiness with which dioceses grant churches by removing them from worship has created a comfortable slumber. The slippery slope begins with a harmless concert of sacred music but ultimately finishes up indulging in whatever goes at any given time and as beggars can’t be choosers, also permits Halloween parties, especially these days.
Moreover, that the building is still a church is written by the foundation itself in defining the place as ‘Auditorium of the Fondations of Piacenza e Vigevano – Church San Dionigi’. So, church it was and church it remains, because a church ceases to be a church only after an appropriate bishop’s decree has been issued to alter its canonical and architectural characteristics. Looking even at the photo published on the Foundation’s website, complete with paintings, balustrade, altar and tabernacle, in no way can it be said, that we are dealing with a former church.
And the fact that this has escaped the notice of those who should be supervising, the Foundation and the curia, is also demonstrated by the violation of Article 4 of the regulations governing the use of the auditorium-church: ‘The Auditorium is intended for the holding of conferences, conventions, theatrical and musical performances, events of collective interest, aimed at fostering cultural growth and the exchange of opinions and ideas, provided that the uses are compatible with the structure itself’.
That a concert in honour of the devil favours the cultural growth of the Vigevano population is more than debatable, but certainly the use that will be made of it on 31 October cannot be said to be compatible with a structure, which, we repeat, remains a church to all intents and purposes.
What does the curia think of this? ‘This is the first I’ve heard of it,’ the episcopal vicar, Monsignor Angelo Croera, told the Daily Compass on the phone, ’but I am new here. But I will inquire and try to understand what this is about. Try to call me on Thursday’.
That’s exactly what the Daily Compass will do, but in the meantime it would be advisable to check and make one decision: to stop everything. Who knows, maybe the bishop will decide to chase away the devils and witches who are now ready to enter the house of God with all their paraphernalia?
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San Dionigi, Vigevano
The church of San Dionigi is a religious building located in Vigevano, in province of Pavia and diocese of Vigevano, deconsecrated and since 2009 used as an auditorium.[1]
History
It is documented that, before the current building, there was a church of the same name on the site in 1323, probably built before the year 1000, but no trace remains about this: in a will of that year there is in fact mention of a frater Bregundius de Gravelona rector el minister ordinis fratrum paupertatis S. Dionysii de Vigievano.[2] This church was also called the “House of Alms”.
Another church was created on the first building, traces of which date back to the mid-fifteenth century. The construction of the new building began in 1750, the dome was built in 1780 and half a century later the bell tower was renovated. Finally, between 2007 and 2009, the building underwent a very radical restoration and the church was transformed into an auditorium.[3]
Description
Located in Piazza Martiri della Liberazione, the church of San Dionigi is a building in baroque style with very ancient origins; the façade is attributed to the architect Giovanni Ruggeri. There are five altars in the building: the main one, with variegated and polychrome marbles, is placed in the centre. The floor at the entrance is made up of a granite slab that covers the tomb of the executed, which also explains the dedication of the church: in fact, there was a congregation of the same name that took care of the burials of those condemned to death.[3
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Chiesa di San Dionigi
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elemosine – EtymologyBorrowed from Ancient Greek ἐλεημοσύνη (eleēmosúnē). Noun eleēmosyna f (genitive eleēmosynae); first declension
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Church of St. Dionysius
Fondazione Cariparma
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Now it’s used as conference room, auditorium and site for exposition.
Inside you can admire two beautiful paintings depicting the head cut of the Saint Dionigi (198-250) that’s dedicated this deconsecrated church
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At the entrance before the meeting there is a trapdoor where in the past the brotherhood that managed the church had obtained the power to take and bury in a sacred place the heads of those beheaded in the Castle: historically documented.
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The San Dionigi Auditorium in Vigevano
Twin structure to the one in Piacenza, it has been housed inside the Church of San Dionigi since 2009, the year in which the completion of restoration work (which lasted several years) allowed the building to be made accessible to the public once again as a venue for concerts, conferences, exhibitions and literary meetings.
The church, which is owned by the Diocese of Vigevano, is used on loan for use by the Piacenza and Vigevano Foundation, which took charge of the work for its restoration.
Today no longer used as a place of worship, it provides a splendid setting for events, conserving precious works inside including the wooden group of the ‘Lamentation over the Dead Christ’ from the early 16th century, and the majestic altarpiece by Gian Battista Crespi, known as Cerano, from the 17th century, depicting the martyrdom of Saint Dionigi, placed on the back wall above the central altar.
address
Via S. Eufemia 13 – 29121 Piacenza
contacts
info@fondazionepiacenzavigevano.it
(tel) +39 0523 311111
Opening hours
: Monday to Friday
9:00-13:00 / 14:00-18:00
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Foundation of Piacenza and Vigevano is the Banking industry.
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Frequently Asked QuestionsWhere is Foundation of Piacenza and Vigevano‘s headquarters? Foundation of Piacenza and Vigevano is located in Piedmont, South Carolina, United States. Who are Foundation of Piacenza and Vigevano‘s competitors? Alternatives and possible competitors to Foundation of Piacenza and Vigevano may include Compte Nickel, Spot Money, and BIOTECanada.
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The STRATEGIC GUIDELINES 2024-2026 for people and places in times of crisisThe Piacenza and Vigevano Foundation plays the role of agent of promotion and socio-economic transformation , combining the function of safeguard with the ability to cope with the changes taking place, at global and local level. Since territoriality and listening are statutory objectives, the strategic lines of the institution are the result of a dialogue process that has involved the institutions, stakeholders and entities active in the territory. We tell in a short video how they were defined, how the institution intends to defend the heritage, distribute resources, invest in projects for the territory in the three-year period 2024-2026. In Italian and available on the website. |
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Vigevano, on Halloween night the witches’ concert at the San Dionigi auditorium
Culture-Events | October 16, 2024, 02:16
Auditorium San Dionigi Free entry Halloween in Vigevano in the name of Great Music: a concert for adults and children, an opportunity to discover or rediscover how great composers have interpreted the world of witches, the occult and ghosts. The invitation to the public is to become the protagonist of the evening by participating in costume and/or scary mask
On Halloween night, even in Vigevano it is necessary to evoke the spirits: Thursday 31 October 2024, at 9.45 pm, in the evocative setting of the San Dionigi Auditorium (Piazza Martiri della Liberazione n. 45), Diapason Consortium , a leading player in the Vigevano musical season, proposes, to inaugurate the 11th Season of Musical Evenings, a concert of classical music and opera arias dedicated to demons, ghosts and witches as they have been told by the great nineteenth-century romantic musical repertoire.
The presence of the public dressed according to the theme is appreciated: witches, demons, vampires, ghosts, etc. are welcome. Enrico Ercole , journalist and music lover, presents.
We begin with the great “ Wolf’s Throat Scene ” from the opera “Il Franco Cacciatore” (1821): in a forest inhabited by spirits, under a blood-soaked moon, a wicked pact is made between a desperate man and the Devil: the seven damned bullets that will carry out the curse are forged. Composed by Carl Maria von Weber, this great scene, considered a true manifesto of German romantic opera, is performed for the first time in concert thanks to the participation of the Bottega dei Suoni Choir and the Maestri Cantori Choir and the soloists Zhaochi Xu (Kaspar) and Danilo Formaggia (Samiel). Finally, we cannot miss a classic from the “demonic” repertoire: “ Night on Bald Mountain ” by Modest Mussorgsky (1867), performed live in the version for piano four hands by Federica Casella and Antonio Bologna and accompanied by images of the legendary final chapter of Walt Disney’s animated masterpiece “Fantasia” in which we see a powerful demon summoning spirits and demons by appearing on the summit of Bald Mountain.
The Devil is once again the protagonist of the great aria “Sono lo spirito che nega” from “Mefistofele” by Arrigo Boito (1868) performed by the bass Zhaochi Xu: Mefistofele praises his demonic arts by calling the demons to him with the gloomy whistle that has earned this piece the nickname “Aria del Fischio”.
Giuseppe Verdi then gives us a truly evocative page, performed by the Bottega dei Suoni choir together with the Corale Maestri Cantori, with the witches’ song “Che faceste? Dite su” taken from “Macbeth” (1847), in which earthly power comes into close contact with the supernatural: the witches predict the future to Macbeth and Banco and… it will be a bloody future. Tânia Camargo Guarnieri
‘s violin will be the undisputed protagonist of one of the most famous pages of the violin repertoire: the legendary “Trillo del Diavolo” by Giuseppe Tartini (1713). Legend has it, according to Tartini himself, that the piece was performed by the Devil who appeared to him in a dream.
The Devil returns, even if only in the evocation of his terrible name, in the aria “Quell’uom dal fiero aspetto” performed by Danilo Formaggia from the opera “Fra Diavolo” (1829) by Daniel Auber : a very feared brigand is called Fra Diavolo because of the fierceness of his appearance and the fear he inspires when he appears!
With Camille Saint-Saëns we arrive at the very famous “Dance of Death” (1874), performed on the piano by Antonio Bologna: with the classic humor that was typical of the French composer, the piece, with themes very well known to the general public, tells of a night in a cemetery when Death plays an out-of-tune violin, the tombs open and skeletons and spirits emerge. To accompany the audience on this journey, during the performance a true masterpiece of animation will be projected: “Skeleton Dance” , produced by Walt Disney in 1929.
RESERVATIONS AND INFORMATION
Given the limited number of places, reservations are recommended on the website www.diapason.it
To stay updated: Instagram bottegadeisuoni
Information: Federica Casella , tel. 0381 73967, email diapason@vweb.it
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“A more German composer than you has never lived.” Richard Wagner’s words, spoken at the graveside of Carl Maria von Weber in December 1844, have echoed down the centuries. Weber had died in London (1826), where he was buried, but Wagner led the campaign to have his remains brought back to Dresden, where Wagner had taken up Weber’s old post as Kapellmeister. Wagner’s advocacy of Der Freischütz helped cement Weber’s opera in Germany’s national cultural heritage, a work at the forefront of the Romantic movement which steered German opera into new terrain – albeit a direction which vindicated Wagner’s own views about where the art form should be heading. But where did Freischütz spring from and how did it influence the next generation of composers?
Der Freischütz is an operatic chiller, the tale of Max, a luckless huntsman who, having a dry spell with his rifle, enters into a pact with the devil so that he is able to cast magic bullets (Freikugeln) that will always hit their mark. This is crucial to the upcoming shooting contest in which Max must compete, where the hand of his sweetheart, Agathe, is the prize.
Weber stumbled across the Gespensterbuch, ghost stories collected by Johann Apel and Friedrich Laun, in Heidelberg in 1810. Sinister tales of the supernatural were all the rage and the myth of the Black Huntsman was already part of popular legend, especially as retold by the Brothers Grimm. But Weber waited some years to set the tale. In the meantime, he worked as an operatic conductor, firstly in Prague (1813-16), then in Dresden as Kapellmeister at the Hoftheater, where he programmed operas by Luigi Cherubini, Étienne Méhul and Nicolas Dalayrac.
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Because of the spoken dialogue in Freischütz, Weber’s masterpiece can be seen as having emerged from the Singspiel tradition of Mozart’s Zauberflöte and Entführung aus dem Serail or even Beethoven’s opera Fidelio. Weber certainly admired Fidelio and often conducted it.
But one could argue that the opéras comiques of the French Revolution had an even greater influence over his work. Listen to the sombre colours in Méhul’s orchestration of Uthal – which contains no violins – and it’s easy to detect the impact on Weber’s own writing in Freischütz.
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Starting work in July 1817, working to a libretto by Friedrich Kind, Weber spent nearly three years composing Freischütz, completing it on 13th May 1820. Incidentally, Der Freischütz was the third title; originally it was to be called Der Probeschuß (The Trial Shot) and then it was renamed Die Jägersbraut (The Hunter’s Bride). The premiere took place not in conservative Saxony but in the intellectual capital of German states, Berlin. Weber detested Italian opera and its vocal virtuosity, so it’s ironic that Gaspare Spontini was Friedrich Wilhelm III’s court composer in Berlin, testing the monarch’s patience with his demands for many rehearsals. Weber’s arrival was like a breath of fresh air.Der Freischütz seized the imagination. This wasn’t music about kings or gods or heroes, but a tale – albeit a supernatural one – of simple village life. The peasants’ music such as the Hunters’ chorus and Bridesmaids’ chorus, strongly resembles German folk music.
Weber’s orchestration is highly innovative. He described how there were two principal elements to his approach: “hunting life and the rule of demonic powers as personified by Samiel”. Hunting life was easily depicted by the use of horns but it’s Weber’s approach to the supernatural which is most striking. For example, Ännchen’s Romance “Einst träumte meiner sel’gen Base”, a mock ghost story, features a spectral obbligato viola.
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But it’s the Wolf’s Glen scene which stands out, probably – along with the Witches’ Sabbath in Berlioz’ Symphonie fantastique – the greatest horror scene of the Romantic period. The Wolf’s Glen comes at the end of Act 2. Most operas would finish the second act with a concertato for many cast members, but here it’s the orchestra driving the action as the evil Kaspar summons Samiel, the Black Hunter, for assistance in casting the seven magic bullets for Max. Weber uses speech mixed with melodrama to create a wild scene which depicts boars crashing through the bushes, rattling chains, cracking whips, the trample of horses’ hooves, stags fleeing hunters and a pack of baying hounds. Samiel appears to the sound of a diminished seventh – “the key chord of Romantic opera until Wagner’s Tristan chord”! It’s seriously scary stuff, even though Weber drops spoilers in his overture.
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Weber’s employed Leifmotifs extensively. Nikolaus Harnoncourt wrote that “the overture is almost like a quarry, a great mine of blocklike material from which the veins of the music extend as far as the finale.”
But it wasn’t just in his music that Weber struck out in new directions. He was also involved in stage designs, lighting and prepared singers for roles by encouraging them to act out their parts as a script first. Weber was working towards what he described as “a self-sufficient work of art in which every feature and every contribution by the related arts are moulded together in a certain way and dissolve, to form a new world” – essentially the forerunner of Wagner’s Gesamtkunstwerk.
Freischütz premiered on 18th June 1821 and the audience included the author (and fellow composer) E.T.A. Hoffmann, poet and critic Heinrich Heine and the 12-year old Felix Mendelssohn. Weber himself conducted, a figure “of small stature, with a shocking gait and a long face with no especially striking feature” according to Heine. Hoffmann, also a critic, was less than impressed with the libretto, likening it to the cheap, supernatural novels of the day. “If Kind’s contribution were to be buried with them,” he wrote, “posterity would have nothing to mourn; but the immortal breath of life which Weber has blown into the wonderful characters will certainly protect him from oblivion.” He cited Freischütz as “the most significant German opera since Mozart”.
The Wolf’s Glen scene, in particular, was a huge success, according to Max Maria von Weber, the composer’s son and first biographer, drawing “thunderous applause”. Theodor Adorno praised the orchestration of the overture. “Low clarinets and pizzicato basses create a blacker blend of sound than Beethoven could ever have dared conceive.” Not everything was well received. Heine complained how he felt “stifled by violet silk” by the jolly little Bridesmaids’ chorus, although he acknowledged its popularity – “even the dogs were barking it on the streets”! By the end of 1822, Freischütz had played in 22 German theatres, and soon travelled to Russia and America as well as most European countries.
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Tchaikovsky was a fan, praising “the spontaneity of its inspiration” in a review of a Bolshoi production in 1873. He heavily criticised as “tasteless and silly” the insertion of a ballet added by Berlioz for a Paris staging, his own orchestration of Weber’s Invitation to the Dance. However, Berlioz was Weber’s greatest champion in France. He lavished praise on the opera in his Treatise on Instrumentation and composed recitatives (dialogue not being permitted on the Paris stage) and it’s impossible not to feel its influence on his Symphonie fantastique.
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But Freischütz had a huge influence on German opera composers in the years that followed its premiere. Weber’s pupil Heinrich Marschner seized on its supernatural elements in his Der Vampyr (1828) especially the marked similarity between Marschner’s Witches’ Sabbath and Weber’s Wolf’s Glen. Later in the same opera, Emmy’s Legend of the Vampire prefigures Senta’s aria about the tale of the Flying Dutchman in Wagner’s breakthrough work (1843); there’s even an identical description, “der bleiche Mann” (the pallid man), in both. Wagner had conducted Der Vampyr at Würzburg in 1833. Marschner’s Hans Heiling (1833) also owes Freischütz a debt, based on a folk legend, but also possessing supernatural elements.
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Wilhelm Furtwängler described Freischütz as “a great moment for mankind”. German opera would never be the same.
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