来源 ：药学社区 2019-12-14 15:59:07|六肖复三肖共多少组
MILAN — In one of the most striking photographs of Maria Callas, the opera diva as Turandot, Puccini’s alluring Chinese princess, glared at the viewer with heavily kohled eyes and wearing a monumentally sized headpiece.
It had silver-plated and gilded roses that quivered in performances, as did the metal butterflies that hovered over its flowers; the stone-encrusted headband was strewn with pearls that draped over her forehead and dangled to her shoulders from jutting swirls of filigree.
Recently — decades after Callas wore the 1920s-era headpiece at Milan’s La Scala opera house — it lay on a table in a small apartment in the city, its flowers and butterflies still gently fluttering.
Angelica Corbella tapped a butterfly to intensify the effect, then pointed out the all-but-invisible spring that it hid and the delicate way it attached to the headband. It had been made by her family’s company, Corbella, which supplied a special kind of stage magic to La Scala, as well as many theaters in Italy and abroad, from 1865 to 1951.
The glories of its atelier are showcased in “Corbella Milano,” a book edited by Ms. Corbella and Bianca Cappello released this April in the United States by the Milan-based publisher Silvana Editoriale. It includes photographs of some of the stage jewels and armaments that have survived, images of opera stars in costume, design sketches and other archival references. It’s a tribute, Ms. Corbella said, to her father, who died before the final version of the book was completed, and to the legacy of previous generations.
The family had a long connection to Italy’s most celebrated opera house, beginning with Ms. Corbella’s great-great-great-grandfather, who she said lived in the building as the caretaker in the mid-1800s.
His two sons, Napoleone and Achille, established the Corbella atelier and began creating costume jewels and arms for La Scala. The business was listed as the official opera house jeweler on its playbills from 1873 to 1951, excluding, for a reason no one now knows, the four years from 1888 to 1892. The relationship ended when Ms. Corbella’s grandfather decided that the opera house was habitually too late with payments and, after dispatching a final order of 200 custom-made swords, he switched to wholesaling his own line of bijoux jewelry and making custom pieces for opera singers. His son, Angelo, Ms. Corbella’s father, transformed the business again, importing jewelry from China until his retirement in 2013. The business is not active today.
The book is based on the family archives, stored in an apartment in the city.
They were transported there around 1990, Ms. Corbella said, but one of the two moving trucks just disappeared with its cargo and never was found. Still, in addition to the books, historic documents and photographs of antique pieces, there are several cupboards filled with armaments and jewelry, and utility boxes stuffed with metal parts, stamps and imitation gems.
Seated in the apartment, with some old catalogs open on a table, Ms. Corbella said she grew up “playing dress-up with the crowns of singers”; she now handles them more gently, gingerly returning the Turandot crown to its velvet case.
In collaboration with La Scala’s costume designers, Corbella produced pieces reflecting a broad range of the past: brightly jeweled Egyptian-style diadems for Verdi’s “Aida,” a Viking queen’s gilded and feather headcrest for Wagner’s “Die Valkürie,” a 16th-century-style metal cuirass for Verdi’s “Otello” and a rhinestone-heavy filigree metal bra in the Mesopotamian style for Strauss’ “Salomé.”
“Corbella used a remarkable attention to history in order to craft, but also to design accurate pieces for the opera, in a period when historicism was very in fashion,” said Piersergio Allevi, a historian of antique armor and weapons, and a contributor to the Corbella book.
Instead of the gold and precious gems of real jewelry, or the steel of real armor, Corbella fashioned its sizable theatrical adornments in materials that were cheaper, as well as lighter (for actors’ comfort): plated brass and copper, wood, leather, rhinestones, glass paste stones, imitation pearls and all kinds of feathers, Ms. Corbella said.
The workshop was founded in a period of upheaval that touched even the theater. In 1861, Italy was unified as a nation, and theatrical professionals began directing productions previously overseen by regional governments and nobility. Historical verisimilitude in costumes became important; the ancient world seized the public imagination and representations of the Renaissance were important to a country looking to a golden age for identity.
“It’s a form of art,” said Stefano Papi, a jewelry historian, formerly of Christie’s and Sotheby’s, who contributed to the book. “They become almost like genuine jewels.”B:
＂【他】【们】【都】【是】【自】【己】【人】，【山】【野】【大】【佐】【没】【告】【诉】【你】【们】【吗】？＂ 【冈】【村】【平】【川】【及】【时】【出】【现】，【呵】【斥】【着】【哨】【兵】【放】【行】。 【宋】【天】【叙】，【张】【强】【等】【人】【随】【同】【冈】【村】【平】【川】【大】【尉】【上】【了】【舰】【船】，【留】【下】【陆】【有】【标】【在】【此】【警】【戒】，【其】【余】【的】【都】【随】【冈】【村】【走】【向】【后】【舱】。 【张】【强】【拿】【出】【一】【把】【飞】【镖】，【以】【刃】【口】【抵】【住】【冈】【村】【的】【后】【腰】【说】【道】： ＂【掷】【弹】【筒】【在】【哪】？【可】【别】【跟】【老】【子】【玩】【花】【样】，【否】【则】【我】【手】【一】【抖】，【飞】【镖】【刃】
“【温】【子】【言】，【你】【私】【自】【嫁】【给】【皇】【族】【女】【帝】，【本】【族】【长】【没】【来】【问】【罪】，【你】【倒】【是】【反】【而】【声】【讨】【起】【来】，【看】【来】【这】【几】【年】【在】【外】【面】【过】【得】【太】【好】【了】，【让】【你】【养】【成】【了】【目】【无】【尊】【长】【的】【性】【子】！” “【目】【无】【尊】【长】？【敢】【问】【族】【长】，【你】【是】【我】【的】【谁】？”【听】【着】【这】【怒】【吼】【声】，【温】【子】【言】【直】【接】【反】【问】。 “【你】…”【温】【馨】【刚】【想】【继】【续】【说】【话】，【心】【脏】【却】【猛】【然】【一】【痛】，【瞬】【间】【就】【脸】【色】【惨】【白】… “【族】【长】，【快】【来】【人】，六肖复三肖共多少组【星】【际】【战】【场】【上】【空】，【这】【里】【只】【是】【联】【盟】【的】【一】【处】【资】【源】【采】【集】【星】，【天】【外】【异】【族】【从】【这】【里】【出】【现】，【很】【快】【就】【将】【采】【集】**【摧】【毁】。 【联】【盟】【收】【到】【警】【报】【后】，【派】【出】【军】【队】，【这】【才】【有】【了】【现】【在】【的】【星】【际】【战】【场】。 【目】【前】【联】【盟】【在】【这】【里】【建】【造】【军】【事】【防】【御】**，【和】【异】【族】【开】【战】。【战】【斗】【非】【常】【惨】【烈】，【双】【方】【伤】【亡】【都】【非】【常】【的】【大】。 【罗】【无】【一】【飞】【到】**【上】【空】，【看】【到】【异】【族】【铺】【天】【盖】【地】【的】【冲】【击】**，
【熟】【悉】【的】【颜】【色】【和】【花】【纹】，【小】【九】【眼】【睛】【睁】【大】【了】【一】【些】，【随】【后】【抬】【头】：“【这】【明】【明】【是】【香】【婆】【婆】【送】【给】【我】【的】！” 【言】【下】【之】【意】，【怎】【么】【就】【到】【了】【你】【的】【兜】【里】【去】【了】？ 【墨】【时】【七】【手】【中】【拿】【的】，【正】【是】【当】【时】【那】【老】【妇】【人】【给】【的】【一】【袋】**。 【他】【笑】【笑】，【收】【回】【了】【手】，【将】【袋】【子】【的】【绳】【子】【解】【开】。 【小】【九】【将】【他】【的】【笑】【容】【尽】【收】【在】【眼】【底】，【心】【中】【不】【知】【怎】【么】【的】【就】【突】【突】【跳】【了】【起】【来】。 【她】【慌】【乱】
【噗】【呲】！ 【突】【然】【利】【刃】【入】【肉】【声】【传】【出】，【聚】【在】【一】【起】【形】【成】【简】【单】【战】【阵】【的】【禁】【卫】【军】【团】【长】【们】，【立】【刻】【向】【声】【音】【传】【来】【处】【投】【去】【视】【线】，【发】【现】【他】【们】【中】【的】【其】【中】【一】【员】【胸】【前】【溅】【起】【一】【串】【血】【花】【闷】【哼】【着】【后】【退】。 【而】【这】【名】【受】【伤】【的】【禁】【卫】【军】【团】【长】【身】【旁】【的】【同】【伴】，【立】【刻】【挥】【剑】【攻】【击】【试】【图】【逼】【退】【冰】【华】。 【不】【过】【事】【情】【的】【发】【展】【出】【乎】【了】【所】【有】【禁】【卫】【军】【团】【长】【的】【预】【料】，【冰】【华】【浑】【身】【向】【外】【放】【射】【着】【极】【其】【细】
【墨】【山】 “【浮】【嫣】，【浮】【嫣】.”【墨】【韵】【从】【大】【梦】【中】【醒】【来】。 【又】【梦】【到】【了】【她】【了】，【三】【百】【年】【了】，【她】【已】【经】【死】【去】【三】【百】【年】【了】.【这】【三】【百】【年】【来】【他】【都】【无】【时】【无】【刻】【的】【想】【她】。 【听】【到】【她】【死】【去】【的】【消】【息】【时】【他】【震】【惊】，【根】【本】【不】【相】【信】【那】【是】【真】【的】，【直】【到】【他】【亲】【自】【上】【无】【极】【山】【去】，【才】【确】【认】【云】【生】【与】【南】【子】【轩】【与】【她】【一】【同】【死】【在】【了】【那】【场】【杀】【戮】【之】【中】。
【只】【是】，【在】【他】【们】【的】【目】【光】【下】，【景】【芜】【却】【是】【迟】【迟】【未】【动】。 【看】【着】【低】【头】【不】【语】【的】【景】【芜】，【伏】【笙】【把】【目】【光】【从】【她】【拿】【着】【筷】【子】【的】【右】【手】【上】【移】【开】，【眉】【头】【微】【微】【蹙】【起】，【有】【些】【担】【心】【的】【开】【口】【问】【道】：“【师】【妹】？” 【景】【芜】【回】【神】，【这】【时】【她】【也】【察】【觉】【到】【了】【自】【己】【的】【失】【态】，【之】【后】【若】【无】【其】【事】【的】【放】【下】【筷】【子】，【抬】【头】【看】【向】【伏】【笙】，【道】：“【嗯】？” 【见】【景】【芜】【不】【欲】【多】【言】【的】【模】【样】，【伏】【笙】【眼】【中】【有】【着】