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Friction between visitors and locals has been around for centuries with pilgrims being the first tourists
Friction between visitors and locals has been around for centuries with pilgrims being the first tourists

NZ Herald

time6 hours ago

  • NZ Herald

Friction between visitors and locals has been around for centuries with pilgrims being the first tourists

Foreign tourists like to complain there are too many of themselves. The locals do too - and have horror stories to tell. A grainy CCTV video apparently shows a visitor to the crowded Uffizi Gallery in Florence awkwardly posing in front of an 18th portrait of a Medici heir only to buckle a bit and tear a hole in the painting with either his hand or elbow. Last northern summer, the mayor of Rome declared that 'there can certainly be no space for hooligans and idiots' after a visitor allegedly used a key to carve his name into a wall of the Colosseum. The previous year, a visitor from Bristol had done the same and pleaded ignorance of the monument's antiquity. A month ago, there were news accounts of an American tourist who impaled himself on a metal fence while trying to take a selfie at the 1953-year-old ruin. The veracity of those reports, however, has been questioned. For many Italians, however, it was the perfect fable of comeuppance: Foolish tourist gets punished by his own foolishness. To be fair, tourists weren't the impetus for Italy's 2024 punitive law against defacing art, monuments and scenic sites - with fines as high as $70,000. The targets of that legislation were so-called eco-vandals who'd gone after the Trevi and Milan's La Scala opera house in the name of saving the planet. For that matter, it was a tourist who alerted the police to the person who keyed in his name on the Colosseum. Still, real and imagined offences committed by tourists have fuelled local outrage from Portugal to Japan that verge on xenophobia. In Tokyo, one celebrity called tourists and migrants 'invasive species' and speculated that visitors could overstay and eventually dilute Japan's unique culture. A lot of the blame for the current flood of revenge travel can be fairly assigned to the Covid lockdowns, the end of which released pent-up demand. Many countries at first welcomed the profusion of profit until visitor numbers and bad behaviour swirled out of control. But the roots of visitors-versus-locals go back much farther in history. The nature of tourism - even before the English word was coined in the late 18th century - was always bedevilling. When Dante sketched out his eighth circle of hell, he had horned demons whipping queues of sinners to keep them in line, comparing them to the crowds of pilgrims in Rome who were policed into one-way lanes as they crossed back and forth on the bridge of Castel Sant'Angelo (which led to St Peter's Basilica). Even back in the 14th century, the tourist hordes were problematic, despite being encouraged by the popes themselves, in part to juice local businesses. Saint Peter's Basilica in the Vatican City. Pilgrims were the first tourists. Photo / Getty Images Pilgrims were the first tourists - and they travelled not only to gawk at the holy sites but to buy blessings and souvenirs and, often, to fraternise with the locals (yes, they did have sexual relations). The ex-mistress of Pope Alexander VI made a healthy living by running inns in Rome, one of which incorporated the pontiff's family crest into its own coat of arms and still stands near the Campo de' Fiori. British aristocrats set off on their own elitist Grand Tours in the 18th century, eating, drinking and fornicating their way through the great cities of Europe. It wasn't until the middle of the 19th century that Thomas Cook scaled up and democratised travel with his familyfriendly, respectably middle-class excursions. Cook's tours pioneered what many today expect from tourism: cocooned experiences where people can remain comfortably and extraterritorially themselves in the middle of a foreign country, perhaps the root of some of today's privileged behaviour among travellers. The tours were also the genesis of an industry that now accounts for about 10% of global gross domestic product, including close to 8% of Japan's and more than 10% of Italy's. So, our so-called crisis has age-old roots. The alleged miscreants are an amalgam of clueless pilgrim, bougie sightseer and loutish scoundrel. And the situation is also exacerbated by the super-sizing of expectations by airlines, hotel chains, the luxury business, the restaurant trade and a host of industries whose aim is to separate this mass movement of people from their disposable income. You can blame go-for-growth commerce. It's not ideal, of course. But everyone has derived some benefit along the route. The point is to prevent local irritation over bad behaviour from going madly off track. Misdeeds - even if committed by a fraction of a fraction - can inspire holier-than-thou ethnocentrism and exclusionary rules. It's important to remember that domestic tourists can behave like yokels too. So calm down. Large countries like France, Italy, Japan and others will find it difficult to restrict tourism without making themselves less attractive - including to their own citizens. The obvious case in point is the United States, where anecdote after anecdote of travellers being accosted or detained at the border has led to a decline in tourism. New York City has revised its expectations for international visitors downward by 17%. Spending by foreign tourists may come down as much as US$12.5 billion in the US in 2025, according to the World Travel and Tourism Council. Before this round of strictures, travel and tourism made up close to 10% of the US$30.5 trillion GDP. New York City has revised its expectations for international visitors downward by 17%. Photo / 123rf Perhaps there is a kind of solution to be found in human guides, accredited to personalise tours and save the more hapless visitors from themselves. It's not new, of course. An essay by the English polymath Francis Bacon in 1625 advised travellers to take along 'one that hath the language and hath been in the country before; whereby he may be able to tell them what things are worthy to be seen'. As for disputes and quarrels, he said, 'they are with care and discretion to be avoided'. So behave. Building a system of capable guides may just end up with more bureaucracy. We tourists should therefore be more conscious of why we are travelling. It's important to get out of one's comfort zone, to experience a different existence. As Bacon wrote, let the traveller 'sequester himself from the company of his countrymen and diet in such places where there is good company of the nation where he travelleth'. My corollary: Skip the generic bucket list and come up with an original one. Do the research. Don't go flowing downstream with the perspiring masses of humanity that know only to stare at the Trevi Fountain. The bigger cities - as crowded as they are - almost always have quiet alternatives that allow you to absorb their ethos without suffocating in the equivalent of mosh pits. In Rome, opt for the elegance of the Via Giulia over the coarseness of the Corso. Being far from the maddening crowds could make all the difference.

Opera star to perform at North Wales International Festival
Opera star to perform at North Wales International Festival

Rhyl Journal

time19 hours ago

  • Entertainment
  • Rhyl Journal

Opera star to perform at North Wales International Festival

Maltese tenor Joseph Calleja, described as "probably the world's greatest tenor," will perform at the opening concert of the North Wales International Music Festival at St Asaph Cathedral on Thursday, September 11. Mr Calleja, whose voice has drawn comparisons to the late Luciano Pavarotti, is a regular at the world's top opera houses, including the New York Met, La Scala in Milan, and Covent Garden in London. Paul Mealor, the festival's artistic director, said: "I would say that Joseph Calleja is probably the world's greatest tenor – he has done everything. "Joseph has performed in all the top venues and all the major opera houses, from the Met in New York and La Scala in Milan – and he is just getting better and better. "To bring him to St Asaph for the very first time is amazing for us. "It's simply the highlight of the festival." Mr Calleja's appearance was secured thanks to his friendship with Mario and Gill Kreft, owners of the Pendine Park care organisation and headline sponsors of the festival. The couple are long-time supporters of the event through the Pendine Arts and Community Trust, which funds cultural and community activities across Wales. Joseph Calleja said: "I have very many fond memories of Wales, including Llangollen with Bryn a few years ago. "He is Wales's greatest son and I love him a lot. "I can't wait to come back frankly because I am also good friends with Mario and Gill and I know it is a special year for them because Pendine is celebrating its 40th anniversary this year. "At the concert I'll be singing some popular songs, so it'll be an easy going night. "We're not going to go too serious but it's serious enough that opera lovers will enjoy." Mario Kreft said: "Joseph is a generational operatic talent who is right at the top of his game, as is our own homegrown hero, Sir Bryn Terfel. "The acoustic at the cathedral is among the best in the world so it will provide a perfect backdrop to hear Joseph's magnificent tenor voice at its very best." Other headliners at this year's festival include the BBC National Orchestra of Wales, choral group Apollo5, and the Black Dyke Band. Film and TV composer Debbie Wiseman OBE will also make her festival debut, with the NEW Sinfonia orchestra performing a selection of her well-known theme tunes. The festival will also feature the second Pendine Young Musician of Wales competition, funded by the Pendine Arts and Community Trust. More information and tickets are available online.

Welsh opera star Stuart Burrows dies aged 92
Welsh opera star Stuart Burrows dies aged 92

Wales Online

time3 days ago

  • Entertainment
  • Wales Online

Welsh opera star Stuart Burrows dies aged 92

Welsh opera star Stuart Burrows dies aged 92 He has been described as the 'great Welsh opera singer as the greatest lyric tenor of his generation' Portrait of opera singer Stuart Burrows, September 1983 (Image: Tim Roney/) Welsh tenor Stuart Burrows has died at the age of 92 after a short illness, his son has confirmed. Born in Cilfynydd, in Rhondda Cynon Taf, his voice was world-renowned. He first sang with the Welsh National Opera in the early 1960s. He performed in some of the most famous venues in the world including La Scala in Milan, the Metropolitan Opera in New York, Carnegie Hall, and the Royal Opera House in London. In 1965, his career took off after the composer Igor Stravinsky asked him to perform Oedipus Rex in Athens. ‌ He was particularly well known for singing music by Mozart and in the 1970s and 80s, but then reached even more people with his own BBC Two series, Stuart Burrows Sings. Before becoming a professional singer, he was also a talented rugby player and turned down an offer to play for Leeds so he could focus on his music. For the latest TV and showbiz gossip sign up to our newsletter . ‌ Over the years he has received a number of honours including an OBE in 2007 for his services to music and honorary awards from Welsh universities. Broadcaster Beverley Humphreys said he had an "astounding career" and a voice that "touched hearts all over the world". His son, Mark, shared the news of his passing on Facebook , writing: 'It is with very great sadness that I write about the passing of my lovely Dad this morning after a short illness Words cannot express how much I will miss this true Welshman who (as he liked to say) loved to sing a bit! Article continues below "Sleep now my lovely man and Dad. Love Mark B, Cathy and Patricia." The Fron Male Voice Choir shared: 'We at the Fron Male Voice Choir had the great honour of sharing the stage with Stuart Burrows at Venue Cymru, Llandudno – a memory we will always treasure. "His warmth, humility, and extraordinary musicianship left a lasting impression on all who were present." Article continues below Classic FM shared a statement from Aled Jones. "Aled, who was mentored by Burrows as a boy, described the great Welsh opera singer as the greatest lyric tenor of his generation, adding, how lucky that we still have recordings of his to enjoy." Labour MP for Rhondda and Ogmore Chris Bryant also shared in a post on X: "Really sad to hear that the magnificent tenor, the Rhondda's own Stuart Burrows has died aged 94. Requiescat in pace."

La Scala's Ortombina on maestro Chung Myung-whun, Verdi and opera's future
La Scala's Ortombina on maestro Chung Myung-whun, Verdi and opera's future

Korea Herald

time22-06-2025

  • Entertainment
  • Korea Herald

La Scala's Ortombina on maestro Chung Myung-whun, Verdi and opera's future

BUSAN -- During the opening weekend of Busan's much-anticipated new concert hall, conductor Chung Myung-whun -- artistic director of Classic Busan, the municipal office overseeing the Busan Concert Hall and the upcoming Busan Opera House -- led a series of inaugural concerts that signaled a new chapter in the city's cultural ambitions. Among those in attendance was Fortunato Ortombina, artistic director of Milan's Teatro alla Scala, one of the world's most storied opera houses. Ortombina, who has worked closely with Maestro Chung over two decades, shared personal reflections and outlined a vision for deepening ties between Busan and La Scala. In an interview with Korean media on Saturday, Ortombina recalled his first glimpse of Chung in 1992. At the time, Ortombina was a student and tour guide in the city of Verdi's birth. A group of American tourists offered him a ticket to La Scala for a performance of "Lady Macbeth of Mtsensk" by Shostakovich, conducted by Chung. "I sat just five meters away," Ortombina remembered. Their first formal meeting came in 2003 at Teatro La Fenice in Venice, when Chung led the Orchestra of Santa Cecilia at the theater's reopening after a devastating fire. From 2003 to 2007, the two worked together at La Scala, where Ortombina served as head of artistic planning. Later, as artistic director of La Fenice for 17 years, Ortombina invited Chung to conduct nearly every year. "He is the conductor I've worked with the most in my life," he noted. Ortombina also highlighted Maestro Chung's enduring relationship with La Scala. Since his debut in 1989, Chung has led more than 180 performances with the Filarmonica della Scala, interpreting a wide range of operatic works — from Shostakovich and Strauss to Mozart and Puccini, with Verdi at the core. 'Verdi is Italy's most important composer,' said Ortombina. 'And although Maestro Chung was born in Busan, his musical sensibility is profoundly Italian.' Chung's deep understanding of Verdi, and his ability to convey emotional truth and narrative clarity, were central to his appointment as the music director of La Scala, Ortombina explained. The decision was made unanimously by the board and the city of Milan, he said. "When I had to choose a new music director, I asked who had the strongest connection with the orchestra and the capacity to shape a long-term project. That person was Maestro Chung," Ortombina said. "Talent is a miracle. Verdi probably didn't even know Korea existed, but his music found fertile ground here." As part of a growing partnership, the Filarmonica della Scala will perform at the Busan Concert Hall in September. Ortombina's three-day trip to Korea includes talks on further collaboration and a site tour of the Busan Opera House, set to open in 2027. With over 20 years of experience leading major opera institutions, Ortombina underscored the importance of public engagement. 'My dream is that five years from now, no one in Milan can say they've never been to La Scala. This is not only an artistic project; it's a social one.' He pointed to initiatives like youth education programs, school tours of opera workshops, and simplified opera adaptations for children. "Opera should be part of humanistic education," he said. "Just like we study Caravaggio or read Thomas Mann, we should experience Verdi." Describing La Scala as "the second home of every Milanese, which was rebuilt even before schools and hospitals after World War II," Ortombina said that "A theater should belong to its city. If Busan's citizens feel ownership of their new opera house, that will be the true success." Speaking about Busan's new opera house, Ortombina reaffirmed his belief in opera's enduring relevance. 'It's not about whether an opera is old. It's about how it speaks to us today. That's what Maestro Chung excels at -- bringing timeless music close to the heart.' On Saturday, Maestro Chung took the stage with the Asia Philharmonic Orchestra -- which he founded in 1997 -- conducting and performing as pianist in Beethoven's Triple Concerto in C major, Op. 56, alongside cellist Jian Wang and violinist Sayaka Shoji. The program culminated in a stirring performance of Beethoven's Symphony No. 9 in D minor, Op. 125, 'Choral.' Comprising top-tier musicians from Korea, China and Japan, the Asia Philharmonic Orchestra has alternated between periods of activity and hiatus since its founding. It reconvened under Chung's direction for the opening of the Busan Concert Hall. Reflecting on the evening, Ortombina said, 'I was glad to be part of the historic performance at the Busan Concert Hall. Reflecting on the meaning of the music and the work made it all the more moving. The acoustics were satisfying, and the performance was fantastic!'

'Forgotten' Glasgow guides reveal city's best nightspots
'Forgotten' Glasgow guides reveal city's best nightspots

Glasgow Times

time21-06-2025

  • Entertainment
  • Glasgow Times

'Forgotten' Glasgow guides reveal city's best nightspots

Legendary institutions frequently mentioned include La Scala cinema, the Alhambra music hall and the Locarno ballroom. While nothing beats personal anecdotes from the people who frequented these places, it's still great fun to look through the city guides held within the city archives. (Image: Newsquest) Many are clearly targeted at tourists, but a number seem to have been produced for citizens and give detailed insight into the variety of places where the people of Glasgow could go to entertain themselves. Glasgow Illustrated Guide by George Eyre-Todd, author and historian, was published around 1930. This guide caught my attention thanks to the level of detail and evocative language Eyre-Todd uses when describing different institutions. He writes that the Grosvenor restaurant is 'busy with dances and dinners all winter through' and 'rivals the Grand Hotel as a resort of the city's gilded youth." Meanwhile, the King's Theatre is pronounced the premier theatre in Glasgow thanks to the calibre of actors who appear on its stage as well as its musical comedy and revue performances put on throughout the winter. Amongst the growing number of 'sumptuous' cinemas in the city he highlights the New Savoy and La Scala as notable for the fine music which accompanies their performances. (Image: Glasgow City Archives) My favourite section of the guide, however, has to be the feature on 'Palais de Danse' which highlights the Ritz on Berkeley Street, the Dennistoun Palais de Danse and La Plaza near Eglinton Toll. (Image: Newsquest) Indicating changing tastes amongst the dancers, he notes that 'at all of these, dancing is of the fox-trot, one-step and jazz pattern. No reels, strathspeys or country dances." And if you didn't have a partner to dance with, not to worry - professional dancers were retained at each place and could be relied on to whirl you about for the moderate fee of sixpence per dance. Glasgow Through a Drinking Glass, another insightful publication, was produced by the Junior Chamber of Commerce in 1973. This features an introduction from writer and broadcaster Jack House, who quips that as a former teetotaller passing a pub 'I used to hold my breath because of the smell. Now pubs hold their breath if I pass them." As well as noting the general improvement in atmosphere of Glasgow pubs since the 1920s, he also gives contextualising details about different drinking establishments. Rogano's is described as a high-class bar thanks to the cigar cutters attached to every table, while many aspiring stage artists hung out at Lauder's Bar, hoping its proximity to the nearby Pavilion and Theatre Royal might get them some work. Lauders, June 1930 (Image: Glasgow City Archives) In total, more than 80 pubs are featured in the guide. Just like Lauder's Bar (now called The Lauders), there are a number of pubs that still exist today. The Griffin is described as modern and bright with trendy clientele from the nearby King's theatre. The Saracen Head is also mentioned, although the popularity of the champagne cider, which he describes as a favourite of the locals, seems to have fizzled out. The legendary Horse Shoe bar is also featured, described as deserving its long-held reputation as 'one of the finest drinking places in the city centre.' As a pun-lover, however, my favourite pub in the guide has to be The Muscular Arms. (Image: Glasgow City Archives) Beyond nightlife, there are plenty of guides which cover activities for all to enjoy. Tourist guides from the 1950s list the city's pools, baths, billiard rooms, art galleries, museums and sports grounds. Visitors are encouraged to visit golf courses outside of the city or to take day trips on the Clyde coast steamers. There is also a very useful publication named Glasgow Official Guide: Historical, marketing and industrial survey, published in around 1938 and again in 1947. These read almost like handbooks for new citizens, featuring adverts for apartments and providing information on the development of schools and public health in the city. Bursting with ideas, these guides confirm Glasgow's long-held reputation as both a popular tourist destination and a great place for a night out.

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