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Palau Reial Major

From Wikipedia, the free encyclopedia

Façade of the palace
Façade of the palace

The Palau Reial Major (Catalan pronunciation: [pəˈlaw rəˈjal məˈʒo]; "Grand Royal Palace") is a complex of historic buildings located in Plaça del Rei, Barcelona, Catalonia, Spain. It was a residence of the counts of Barcelona and later, of the Kings of Aragon. It is composed of three distinct edifices:

  • the Saló del Tinell, built by King Peter IV in 1359–1362
  • the Palatine Chapel of St. Agatha (1302), built under King James II
  • the Palau del Lloctinent (1549), built by Generalitat of Catalonia under Charles V

The Saló del Tinell was built in the 14th century under the direction of architect Guillem Carbonell. Its gothic round arches are founded over 11th-century vaults (built themselves over a pre-existing monumental structure dating to the Visigoth age). The Chapel of St. Agatha was designed by architect Bertran Riquer to act as the royal chapel, replacing a previous oratory. It has an octagonal tower from the early 14th century, and it consists of a single aisle with a roof ceiling and ends with a polygonal apse. The sacristy is built within the ancient Roman walls. By commission of Peter V of Aragon (1463–1466) painter Jaume Huguet made the chapel altarpiece dedicated to the Epiphany.

Both Saló del Tinell and St. Agatha Chapel are valuated as Catalan Gothic architecture masterpieces. The Epiphany altarpiece is also an outstanding gothic painting. They can be visited as a part of the Barcelona City History Museum MUHBA. Temporary exhibitions are held in them.

After the 16th century, the edifice was no longer used as a royal residence and was divided between the Inquisition and the royal administration. In this period, the door leading to the Royal Audience Hall was built, with a triangular tympanum (currently at the entrance of the Museu Frederic Marès).

The Palau de Lloctinent was built in 1549–1557 by Antoni Carbonell, in late Gothic-Renaissance style. Also from this period is the so-called Mirador of King Martin, a five-storey tower on a rectangular plan (1555).

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  • LE CINESI Gluck - Palau de les Arts de Valencia

Transcription

And so? Here we sit, listless and mute! Shall we at least speak? What else can we do. Yet ‘tis no slight matter simply solved in an instant that of finding happy amusement that is both new and innocent. Nothing springs to mind, though I’ve pondered for an hour. Let each say what she wishes, whichever is best suited... Hush, for now I have it. Yes, this would suit us well. Pray tell. Imagine if... No, I like it not. But wait, not that either. A thousand difficulties I find. Look, this may serve us well: Easy to accomplish, harmless, yet ingenious. Praise heaven! -And it is? Ah, take no heed; ‘tis nothing worth. But ’tis a good invention. -A most beautiful fancy. Invention is ne’er as easy as what it seems to be. Let me share my thoughts, if it means no bother to you. A man! -Ah, woe is me! -What means this betrayal! Does my arrival frighten you so? Am I a snake, or a tiger? Oh, worse, much worse! More respect, my brother, did I expect of you. These secret rooms are forbidden to men. Did you not know? -I know. Valiant Chinese nonsense. Such strange things are laughed at in all the Western world The things one learns from travel. Oh, my dear Lisinga, I know not where I am. If you love me well, hear the tumult that stirs my heart! I burn with rage. -What they will say of us throughout the town? All will hear of this our parents, the court, the mandarins. No, have no fear of that. No one have I seen. Leave, for pity’s sake, please; Silango, you kill me with unease. A single instant, and then... Lovely Sivene... Take your leave, or I will go to alert the entire neighborhood. So great is the hatred you feel towards me? -Indeed, now leave. Farewell, if that is what you wish! Hear me... -What is your desire? Forget not, to leave well concealed. -So it shall be. -Wait. Are you completely certain no one saw you come in? I swear to you, no one has seen me and no one shall. Be at ease. Hear me; there is really no need to leave with such speed. Stay I might, but the fair Sivene would faint of fright. My fear begins to fade. But Tangia will alert the neighborhood. One does not always do all of what one says. Yet the respect I owe my sister... It’s true that I grow weary of our indiscreet coquetry. The best advice I can give you is to leave before nightfall. We do not find ourselves on the banks of the Seine or the Po. Another time your frank sincerity may cost you dear ‘tis absurd this presumptuous right to admonition that we should change Chinese tradition. I will obey you and silent shall remain. And now, as we were, sit and pay me heed. I hope to have hit upon the best amusement for our needs. Then do not keep it to yourself. Let us together perform a theatre piece of some form. Oh, yes! That passes the test. -Indeed, that would be best. It will allow us a veritable spree to show off our skill. Although such art is common amongst the Europeans, for the Chinese ‘tis still infrequent, to say the least. No longer shall it shall be so. -Lisinga, choose the plot. Let it be one that is all the rage upon the European stage. Some heroic situation... I’d be inclined towards Andromache. A pastoral plot is more naturally innocent and sublime But comedy is the subject that will prove the least abject. Of illustrious events does the heroic style take its strength; It moves our hearts in kind and they are filled: with lofty thoughts and the lessons they instill. The garments of the shepherd awake love due to their simplicity. A comedy captivates and entertains while it thrills and pleases Do as I suggest, if you wish to move ahead, Recite one scene in the style that each has proposed: At the end we all will choose that which has been most enjoyed. One could not have found a better solution than this. Begin, Sivene. I think not! Let Tangia be the first. It would be my pleasure: You see how I obey. You’d do well to explain that which you plan to recite. Of course. I shall pretend... May I pretend whatever I wish? Of course. -Perfect. Then I will pretend... But, does it matter if my clothing is or isn’t adequate? We shall imagine your attire. -Perfect. When will you begin? -Right now. Let me see… Suppose that... Ah, perhaps ‘twere better if one of you went first. I expected as much. Let’s waste no more time with this! I’ll fire the opening shot. Come closer, sit down, and pay me heed. With great nobility have I behaved. Here am I, prepared to listen. What we see before us is the royal city of Epirus. Hector’s loyal widow am I. With the infant Astyanax by my side, pale with fear. on my other side, Pyrrhus hovers near, demanding either my child’s blood or my hand. A wish most damned. This barbarian delivers now his horrid lesson as I weep and shake; still, no decision do I take. Pyrrhus tires of my vacillation; declaring his indignation he moves to rend my child from my breast: I deliver myself to you. My child’s innocent blood not for me be shed. Beloved ashes of my illustrious spouse Is it possible that I fail to pay them homage? Hand me the dagger, Pyrrhus, for mercy I plead! What triumph for a hero of Troy is an innocent infant’s death? What love stirs in you this woman disgraced, hated by the gods, victim of Fate? Leave me, leave me in peace I beg you. By your father’s generous soul. by his hand, that fills Asia with fear: to these rivers of my bitter tears... to my pleas, the beast turns a deaf ear. I would kill him. No, wait not for my love; me you shall never have: Astyanax shall die, Andromache by his side; Pyrrhus, consumed by unholy desire, shall go mad with rage, with love on fire. Take my son, take him! What terrible cruelty! My God, what to do? Mercy, my God, I pray for your aid! What unbearable pain! The beast demands my love; my husband my loyalty will have, and my son implores me for his life. Ah, cut it not so short, dear sister. My scene have I done; let another do hers. Tell us at least how it comes out in the end. I shall tell you when we are at leisure again. Continue, Sivene. -I’ll pretend to be an innocent nymph. She takes the statement of her beauty as a given. The scene takes place in a small, pleasant valley. An enclosure planted with plantains and laurels: Betwixt plant and plant one can see a dainty cottage far away. By the shelter of a fountain, her hair with blossoms she adorns Lycoris, the shepherdess, as modest as she is beautiful. Thyrsis, weeping by her side accuses her of a lack of love; she, who promised him affection, of such a promise naught remembers, She scoffs at his tears and the shepherd is offended. Cruel he calls her and she, who feels no guilt for this, becomes annoyed, and, full of ire, answers him with simple words. Lovely Sivene, I see we lack a shepherd: by your leave, I would speak his words. Her beauty fill his mouth again; never does it seem to be my turn. If you wish, act the shepherd; but do not make it too long. I must say in total honesty, all this diversity frustrates me. What more must I do, Lycoris, to conquer your heart? Be harsh with me and your cruelty will seem less. Tyranny is your seduction, your declaration of love, lacking love. You’ve already become displeased, you wish me to be more at ease. How can that be, when those eyes that I so adore never tell me no; when I don’t see in you hope, Jealousy, ardor, or predilection: when I cannot discern signs of the soul’s tumult in your face, how, cruel one, can I believe you my lover? When I’m far, you don’t need me, when I’m with you, you don’t sigh, I hear you say that you love me, yet I find no love in you. When I’m far, you don’t need me, when I’m with you, you don’t sigh, I hear you say that you love me, yet I find no love in you. If my suffering is denied all pity by your heart, either it knows not love or it never felt it from the start. When I’m far, you don’t need me, when I’m with you, you don’t sigh, I hear you say that you love me, yet I find no love in you. What do you think of the scene? Too much weakness in this shepherd I see. The nymph he adores is lovely. -Such insolence! Sivene, let us hear the rest. Each day you grow more irksome, Thyrsis. What do you crave from me? You believe I love you little? After my faithful dog, after my dear sheep ‘tis you that the first place in my heart keeps: Does that seem to you too little love? I would love you more had I more than one heart: I shall make Sylvia and Nice love you with me; to be loved so true is your great talent. and still you will not be content! I should lose myself in your praise. and learn to say that your eyes are arrows; that if I leave your side, I will surely die, but this I will never say, for it you wait in vain. Do not expect that Lycoris will learn to deceive; dear Thyrsis, I want to love you, but not to delirium succumb. Do not expect that Lycoris will learn to deceive; dear Thyrsis, I want to love you, but not to delirium succumb. With my love you are not pleased, rest at ease! I’ll return shepherding my sheep, and you’ll shepherd your herds. Do not expect that Lycoris will learn to deceive; dear Thyrsis, I want to love you, but not to delirium succumb. Such a lovely shepherdess! -Let us hear some comedy But first, for the sake of mercy, let me sate my curiosity. In what country can one find this valley? Oh, ’tis of no importance. -It matters much to know where, at the present moment one might find a love so innocent. Hurrah for sharp ingenuity. -Much I have been thinking, yet I cannot find a scene which I feel like interpreting. That which would most please you. one which bravery shows, but is cowardly at its core. One whose voice completely fails to leave the body at all Or a hard-headed vassal, the scourge of his master. Or an old lover that, full of malice is torn between love and avarice Or an affected man from other countries recently come... Oh, do that one! -That was intended for me. I shall put pretty Thyrsis in his place. Well then, dear Tangia... Combing my toupee, here I sit, attending to my toilette. Come, someone, quickly. Another mirror, fast. How dare you bring it in this way? What cheeky ignorance is this! I’ll forgive this to lower castes, but here nobles ignore how to live If my words you do not believe, go just once to the Tuileries. Let that your education be! Go there whosoever would see how youthful folk should be at leisure. As one jumps to one side, another on the grass doth lie: Still others whistle and walk, another recites a theatrical talk; There is one speaking quite alone while reading a note on his own. Another draws close to Fillis and calls out, “Bewitching beauty,” with a passionate shout. But those from this fair city? They inspire both anger and pity. They never cease to complain how the maidens show them disdain. I quite believe it, for these youths are in no way urbane. With this smile, with this look, so refined and with so much allure could a woman not be hooked even with an education so poor? With this smile, with this look, so refined and with so much allure could a woman not be hooked even with an education so poor? Is there a soul who upon seeing me walk by in my elegant style, would not feel compelled to say, “Now this is a man worthwhile”? With this smile, with this look, so refined and with so much allure could a woman not be hooked even with an education so poor? What do you say to the portrait for you that I’ve made? Very pretty. -I find the idea novel. Yes, but the innocent scene is more beautiful. I know not how it will affect him. -Come, let us decide. Which style, then, is the one we prefer? The tragedy is the best without a doubt. It keeps the heart conflicted with feelings that change: Yet crying for pleasure still seems strange. So, in the end we have chosen the humble shepherdess. Hers is a style both innocent and genteel: which would please with little effort, ‘tis true. but it is not for the more refined taste. to always talk of cabins and beasts I fear it would bore us at the very least. I fear that as well. -Let’s make some ridiculous drama. In this we take a great risk. -That is? The comedy of men must be done light-heartedly. And some one could see his portrait in our play. I might make great enemies with one word, one gesture. For that I have no need with what I already bear. Everything comes with its own burden Well, perhaps you all would like to follow my lead in this? For my part, with pleasure. -The same say I. Go on then, bring instruments. I await your idea with impatience. Prepare a dance. Dancing, everyone revels, and all are understood; It provokes neither tears nor boredom. Someone could say that this topic is a tired old dish: but that which is well known, always tastes afresh. Let our feet fly as we spin happily. Let our mouths sing sweet words. May the winds sweep away the ill thought that comes our way. Let pleasure direct the chorus. May innocence inspire the song. May Innocence and pleasure melt in an embrace forever. Let our mouths sing sweet words. May the winds sweep away the ill thought that comes our way. Let pleasure direct the chorus. May innocence inspire the song. Let our mouths sing sweet words. Let our feet fly as we spin happily. May Innocence and pleasure melt in an embrace forever. Le Cinesi, libretto: Pietro Metastasio. Sottotitoli: Anselmo Alonso

Gallery

References

  • "L'Art Gòtic a Catalunya. Barcelona". Enciclopèdia Catalana (in Catalan). III. 2003. ISBN 84-412-0891-3.

External links

This page was last edited on 9 September 2018, at 16:47
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