Italian singer, actress and TV personality Milva died on Saturday, at her home in Milan. The multitalented artist was 81.
Milva’s death was confirmed by Italy’s Culture Minister, Dario Franceschini, who called her “one of the strongest interpreters of Italian songs,” also noting that “her voice has aroused intense emotions for entire generations.” No cause of death was given.
Born Maria Ilva Biocalti in Goro, Italy on July 17, 1938, Milva enjoyed the height of her fame in Italy throughout the 1960s and ’70s, also cultivating a fan base around the world. Famously referred to as “La Rossa” (or “The Redhead”), given the color of her hair, she recorded 173 albums throughout her life, and ultimately sold some 80 million records, according to the the Lapresse news agency.
Milva appeared on stage, both in and outside of music, and all over the world. Between the 1960s and 1980s, she collaborated with such prominent...
Milva’s death was confirmed by Italy’s Culture Minister, Dario Franceschini, who called her “one of the strongest interpreters of Italian songs,” also noting that “her voice has aroused intense emotions for entire generations.” No cause of death was given.
Born Maria Ilva Biocalti in Goro, Italy on July 17, 1938, Milva enjoyed the height of her fame in Italy throughout the 1960s and ’70s, also cultivating a fan base around the world. Famously referred to as “La Rossa” (or “The Redhead”), given the color of her hair, she recorded 173 albums throughout her life, and ultimately sold some 80 million records, according to the the Lapresse news agency.
Milva appeared on stage, both in and outside of music, and all over the world. Between the 1960s and 1980s, she collaborated with such prominent...
- 4/24/2021
- by Matt Grobar
- Deadline Film + TV
If there is one defining characteristic about composer Max Richter, is that he refuses to stay within any preconceived boundaries. Classically trained at Edinburgh University and finishing his studies under the tutelage of avant-garde composer Luciano Berio in Florence, from there Richter’s career went in a variety of directions. He did traditional compositional work, collaborated with acts as varied as The Future Sound Of London, Roni Size and Vashti Bunyan, and issued his own complex and acclaimed solo work. So it was only a matter of time until the movies came calling for Richter’s unique, soulful and avant work, and the last decade has seen him contribute to films such as the animated “Waltz With Bashir,” the Wwi drama “Lore,” the sci-fi “Last Days On Mars,” the intimate “Wadjda” and many more. But always looking for a further challenge, Richter has now tackled his first TV gig with...
- 6/30/2014
- by Kevin Jagernauth
- The Playlist
Polish composer of film music best known for Bram Stoker's Dracula, Death and the Maiden, and The Pianist
Very few 20th-century classical composers set out with the intention of writing music for films. Wojciech Kilar, who has died of cancer aged 81, was no exception. Would he ever have dreamed, when he was studying composition in Poland, that he would later go on to score more than 100 films and build his reputation on that body of work rather than in the concert hall? It took Kilar more than 30 years of composing music for Polish films before he became internationally recognised because of his creepy score for Bram Stoker's Dracula (1992), directed by Francis Ford Coppola.
The acclaim that Kilar accrued from his music for Coppola's pyrotechnical horror movie led to work on other widely shown English-language films, such as Jane Campion's The Portrait of a Lady (1996) and three by Polish-born Roman Polanski...
Very few 20th-century classical composers set out with the intention of writing music for films. Wojciech Kilar, who has died of cancer aged 81, was no exception. Would he ever have dreamed, when he was studying composition in Poland, that he would later go on to score more than 100 films and build his reputation on that body of work rather than in the concert hall? It took Kilar more than 30 years of composing music for Polish films before he became internationally recognised because of his creepy score for Bram Stoker's Dracula (1992), directed by Francis Ford Coppola.
The acclaim that Kilar accrued from his music for Coppola's pyrotechnical horror movie led to work on other widely shown English-language films, such as Jane Campion's The Portrait of a Lady (1996) and three by Polish-born Roman Polanski...
- 1/7/2014
- by Ronald Bergan
- The Guardian - Film News
Written and directed by: Peter Strickland
Featuring: Toby Jones, Cosimo Fusco, Fatma Mohamed, Eugenia Caruso, Antonio Mancino, Tonia Sotiropoulou
A fond tribute to giallo, a hymn to analogue recording equipment, a vehicle for the irresistible Toby Jones – on paper at least, Berberian Sound Studio looks like it might be the best movie ever made. Peter Strickland's second feature is certainly a delight for the senses, indulging the audience in the intensity and theatricality of 1970s Italian horror, aural and visual details heightened for maximum effect. Unfortunately, the delicate plot threads spiral out of control in the third act, leaving the audience awash with all the delicious possibilities (mysteriously disappearing technicians, dead chaffinches, actresses taken ill, an unseen intruder lurking within the studio) that never come to pass. Nonetheless, this arthouse horror movie offers some noble, rather than the usual guilty, pleasures to genre aficionados.
The title of the fictional studio,...
Featuring: Toby Jones, Cosimo Fusco, Fatma Mohamed, Eugenia Caruso, Antonio Mancino, Tonia Sotiropoulou
A fond tribute to giallo, a hymn to analogue recording equipment, a vehicle for the irresistible Toby Jones – on paper at least, Berberian Sound Studio looks like it might be the best movie ever made. Peter Strickland's second feature is certainly a delight for the senses, indulging the audience in the intensity and theatricality of 1970s Italian horror, aural and visual details heightened for maximum effect. Unfortunately, the delicate plot threads spiral out of control in the third act, leaving the audience awash with all the delicious possibilities (mysteriously disappearing technicians, dead chaffinches, actresses taken ill, an unseen intruder lurking within the studio) that never come to pass. Nonetheless, this arthouse horror movie offers some noble, rather than the usual guilty, pleasures to genre aficionados.
The title of the fictional studio,...
- 6/4/2013
- by Karina Wilson
- Planet Fury
Writers often worry about the dangers of outside influence, but what about the non-literary inspirations they are far more comfortable admitting to? Andrew O'Hagan talks to six novelists about their passion for a second artform
The divine counsels decided, once upon a time, that influence is bad and that too much agency is the enemy of invention. Harold Bloom can't be blamed for that: he certainly pointed to the danse macabre of influence and anxiety, but to him the association was perfectly creative. Elsewhere, writers have always been blamed for being too much like other writers, or too much like themselves, and even now, in the crisis of late postmodernism, we find it hard to believe that writers might live happily in a state of influence and cross-reference. Yet anybody who knows anything about writers knows that they love their sweet influences.
What I've noticed, though, is that the influences...
The divine counsels decided, once upon a time, that influence is bad and that too much agency is the enemy of invention. Harold Bloom can't be blamed for that: he certainly pointed to the danse macabre of influence and anxiety, but to him the association was perfectly creative. Elsewhere, writers have always been blamed for being too much like other writers, or too much like themselves, and even now, in the crisis of late postmodernism, we find it hard to believe that writers might live happily in a state of influence and cross-reference. Yet anybody who knows anything about writers knows that they love their sweet influences.
What I've noticed, though, is that the influences...
- 4/27/2013
- by Andrew O'Hagan, Lavinia Greenlaw, John Lanchester, Alan Warner, Sarah Hall, Colm Tóibín
- The Guardian - Film News
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