Biathlon, the broken trace of Raphaël Poirée

On March 11, 2007, he had been left with his fist raised, angry as always, forced to lower him during this last race, defeated by half a spatula by the Norwegian king Ole Einar Björndalen. Following his sparkling career (8 world titles, 4 big crystal globes, 44 World Cup victories, 3 Olympic medals), Raphaël Poirée then published his first book, “ We are not born a champion, we become it “, written in collaboration with the journalist of Dauphiné Liberated Yves Perret, now press manager of the AG2R-Citroën cycling team.

“My father smiles at life”

The tone was high, informative: he told of the discovery of skiing by a city child and the emerging media coverage of biathlon. A bit classic nonetheless, in the manner of these agreed monographs published by publishers surfing on the notoriety of a champion. Thirteen years later, the Poirée-Perret duo reunited for a second chapter called ” The pursuit of a life “ (1), whose tone is quite different.

Biathlon, life without Martin Fourcade

Everything is said, perhaps, in the last line of the last chapter, written by his eldest daughter: “My father smiles at life. “ We would be tempted to add “finally” to it, as the last thirteen years of Raphaël Poirée’s life, as a former champion, have been so painful. The “little death”, a somewhat frightening nickname for retirement from sports, he experienced painfully. Suffering in his body when he was hospitalized with two broken vertebrae after a quad bike accident. Bleeding in his heart when the golden couple he formed with Norwegian biathlon star Liv-Grete got bogged down in his unsaid and touchy character.

The man had a reputation for being silent asocial; he was in fact running behind the hope of the recognition of a stranger, his father, who had abandoned him shortly after his birth, before remaking his life in New Zealand. “ For me, playing sports was a way of shouting ”, he said from Bergen, Norway where he is based. But this father, who died shortly before he found his trace, never heard him.

Daily champion

Professionally, retraining has not been easier. In 2007, biathlon was still a confidential sport in France and race bonuses were not enough to secure the future. The great champion, who only lacked Olympic gold, found himself as a worker on the oil platforms, then a construction engineer, before taking the commercial management of a public works company. “Poor guy, he’s lost his mind. He is sad. We must help him, say those who have not understood that it is my simple and unique choice to exercise this profession ”, he wrote, addressed to an environment which has never quite understood it.

A second championship course, no longer fighting for glory but to raise his three daughters. “I wanted to leave a mark on my children, that they know my story and that they know that it is necessary to fight in the life”, he said before hanging up the phone with an excuse: ” Tomorrow I get up early. “

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Raphael defends live music with “the strictest security measures”

Raphael, at the WiZink Center.

Raphael, at the WiZink Center.
EP

The artist Raphael has defended his commitment to recover live music and stressed that they have worked “very hard” to offer a concert with the “strictest security measures, prevention and complying with current regulations “.

“We have worked very hard to offer a concert with the strictest security and prevention measures and, of course, complying with current regulations. Together, we have contributed our grain of sand to the cause“, he pointed out.

This was stated this Monday by the singer in a statement disseminated through their social networks, after the criticism that the concerts he has held at the WiZink Center in Madrid have received.

“I am writing these lines to thank you for the immense support received during this weekend; not only to my concerts, but to the safe culture, in checkmate since the pandemic“, he pointed out.

Raphael has lamented that the health crisis due to Covid-19 is causing “more than difficult” months for everyone, including the cultural sector. “For this reason, as far as possible, I wanted to commit myself to recovering live music“, has said.

The artist has emphasized that he feels “very grateful” especially with the public and has wished a reunion “soon” with him. “same sense of responsibility” proven to date.

“I am very grateful, especially to you, the public, and I hope we will meet again ready with the same sense of responsibility that we have demonstrated to date “, has published Raphael.

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Raphael once again gathers 5,000 people at the Wizink

Agencies

Updated:

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Raphael’s second concert, held this Sunday night at the Wizink Center in Madrid, has gathered about five thousand people and it has passed «without incident and respecting all security measures», After the controversy that arose about the capacity at the concert on Saturday.

According to sources from the organization, this second evening has brought together “about five thousand attendees like yesterday”, including the guests and despite the fact that initially they had sold fewer tickets for the second concert. “Has been total normality and all security measures have been respected. The capacity has been around 30 percent and without any incidence ”, the same sources have told Efe.

The first concert on Saturday night drew criticism on social media by the massive influx in an enclosed space when they are finished restrict family gatherings six people from two different nuclei.

For its part, the WiZink Center responded to the criticism in a statement in which it specified that on Saturday there were 4,368 people in the enabled seats, 25%, “when by regulation it would have been possible activate up to 40% capacity ”, and that all security measures were met, and even doubled the required space between seats.

Also the president of the Community of Madrid, Isabel Díaz Ayuso, has ensured that the show was held in compliance with “All security measures”. Ayuso also pointed out that he believes that the incidence of coronavirus cases will stagnate in the coming days, but that if he does not «Will be suspended all events with the same characteristics.

For his part, the PSOE deputy spokesperson in the Madrid Assembly, José Cepeda, has indicated that the regional president has returned to «Leave in evidence the reputation »of Madrid after his words about the Raphael concert on Saturday, and has asked to apply the “common sense” and “Observe” what happens in Europe.

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Raphael vindicates safe culture with the greatest concert during the pandemic

Raphael launched the appeal and his faithful came en masse, but under strict security measures, to claim that the culture is safe. More than 4,000 people enjoyed the concert of the artist from Jaén at the WiZink Center in Madrid, in the first date of the two confirmed for this weekend. The second will be held this Sunday. A number of public that has turned the party for the sixty years of Raphael’s career into the most massive concert of the pandemic held in Spain. You have to go back to the weekend of March 6 and 7 to find musical events with a massive capacity. Then, Isabel Pantoja and Camela in two concerts, brought together about 10,000 people in the same venue.

But Raphael’s classic Christmas concert has not been without controversy due to the magnitude of the event, whose tickets have been sold out for weeks. The Community of Madrid allows 40% of the public to attend cultural events, but the organization of the concert and the artist decided to put only 25% of the capacity up for sale. “There were 4,368 people who filled the occupied seats,” specified those responsible for the venue, whose maximum capacity is 17,400 people. In addition, the 300 who worked in the preparation of the concert underwent an antigen test to guarantee their status. “The data were incorporated into the file of the tests that the Community of Madrid is carrying out,” they indicated in a statement. They also reported that the temperature of all attendees was taken, in addition to having gel dispensers or a computer system to request drinks and food without having to move from the seat.

Image provided by the WiZink Center.
Image provided by the WiZink Center.

But the images with so many people, masked and separated by two seats from each other and without having anyone in front or behind, caused discomfort and surprise. For example, among basketball fans, who do not understand how the artist can present his latest work, ‘Raphael 6.0’, in front of so many people in a closed venue where Estudiantes and Real Madrid play and they cannot go to see their teams. “The issue is that the authorities allow it and shed light on the inconsistency with other recommendations,” said Dr. Alberto García-Salido on social networks.

The president of Madrid, Isabel Díaz Ayuso, said this Sunday that she understood the “discomfort” of many citizens with the celebration of the concert because this Christmas “we will not be able to be with ours more than six people.” However, he defended the security measures taken by the WiZink Center. “It is a venue that renews the air every twelve minutes. All the citizens who went to the concert registered to facilitate the tracing,” said the regional president, who also warned that if the accumulated incidence were “worrying”, the regional government would suspend all These events.

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Raphael triumphs in the concert with the most spectators since the beginning of the pandemic

Not even the pandemic has prevented Raphael from returning for Christmas one more year to the main stage of the Spanish capital, and not with a low profile, but with a sold-out concert attended by 5,000 people and first-rate guests, such as Manuel Carrasco and Pablo López.

Since last March these same stands of the Wizink Center in Madrid they received 10,000 souls to enjoy Camela, no other musical event in Spain had received such a large audience, yes, with all the health measures and precautions activated.

What greater happiness to have them in front of them. Tonight is very important to me and I know that for many of you too, that this begins to roll “, the protagonist of the night certified before a generalized feeling and a panoramic view of the venue that encouraged the hope of recovering the old normality.

The excuse well deserved this coming-out: celebrating 60 years in Raphael’s career, an anniversary that just a few weeks ago led to the release of the album “Raphael 6.0”, in which he covers songs from other people’s equally mythical songs with high-altitude duos, such as “Resistiré”, “We broke our love” or the “I forgot to live” popularized by Julio Iglesias.

He never forgot to live, the incombustible artist born Rafael Martos (Linares, 1943) specified in a talk with Efe that what he has done often during his career is emerge as the “Phoenix Bird” With which he has jumped to the stage at 7:00 p.m., true to his style, in strict black but giving space to fantasy with a sequined jacket.

After that atypical theme taken from his album of the same name published in 1992, in all probability a bet with double reading for the moment that we are going through, the divo has not been slow to make his own another of the jewels of his latest album, “Living like this is dying of love”, by Camilo Sesto.

Where the voice no longer reaches the complex breaks and sustains of this type of Herculean songs is supplied by the formidable band that accompanies him in these appointments, a fifteen musicians, including a string quartet and a brass section, all before a triangular pantallion and custom lighting to display flashes and underline each passage.

About thirty songs have been given the opportunity to listen throughout the two hours and fifteen minutes of tonight’s concert, in which there have been their greatest hits, such as the very powerful (and now electronic) “Say what they say” and “My big night”, or like “I’m still that one” and “I was in love”, which have put the crowd on their feet and wanting to release the hours of dancing accumulated in the months of hiatus.

In between, it was the turn of the first visit of the evening, Manuel Carrasco. “I love him and admire him a lot,” he said of the Huelva bestseller, along with whom he shared that aforementioned live for the first time “I forgot to live” that served as the spearhead of “6.0”, before tackling “Face to Face”, an original by Bunbury, with which he has been able to exploit all his dramatic vein.

While still being Raphael, there have been many other opportunities to see him make pieces from outside his repertoire his own, from outside this part of the world even, such as “Vida Loca” by Pancho Céspedes and “Alfonsina y el mar” by Mercedes Sosa.

In some cases the celebration has been for both the interpretation and the theme itself, as has happened with the powerful “We broke our love” that he was orphaned without Rocío Jurado, after which he has paid tribute with “Adoro” to Armando Manzanero, currently admitted because of the covid-19.

Pablo López has not missed the appointment, who made a custom-made song for the last album. “Truth, on a billboard at Olympia / with thirty, twenty-five or nineteen / waiting in dressing rooms / where it rains”, Raphael has recited, to which his “partner” has responded loudly: “Thirty-five / thirty-six / his name on the poster / I dreamed he wrote / a song, to Raphael”, causing a sudden climax of applause.

In that song, the man from Malaga wanted to include as a wink the percussive base of “The drummer”, How common and essential it has become in their Christmas commitments and that of course it has not been lacking today either to the joy of those present and as a preview of the great final fireworks.

Worried about providing a brooch of height, the last section has begun with his colossal “En carne viva”, with that tremendous finale that has put the audience on its feet once again, which has been followed by “Ámame” and his reinterpretation of “Resistiré”, a song that for years and years his wife demanded so much that he cover.

Thus, with the fifth gear engaged in the engine and the belt at full revolutions, the essentials have arrived: “What does anyone know”, “I am that one”, “Scandal” and “How I love you” As a grand finale, all hypervitamins with the production that Lucas Vidal reimagined for them just a year ago.

“What a beautiful night! Thank you very much. And that next year we will see each other again with everything arranged, take good care of yourselves!”, The artist has asked, that this Sunday will return to a new and last appointment in this space, because a Christmas without Raphael or music at the Wizink Center is less Christmas.

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Raphael: “I am afraid of the coronavirus, to tell you that it will not be lying”

You are a rare sir [mira un tanto asustado a su hombre de prensa]. The average Spaniard dreams of retiring at 67 and you continue working at 77.

[Sonre relajado, ahora ya s] Retire … and go to Benidorm. In my case it is not so. Besides, I have never understood it. I understand that a turner or bricklayer, like my father, is looking forward to retirement. But that a professional who works with his brain or his art wants to retire …

After so much success, what is the engine still?

I don’t look at the numbers. The uranium one they gave me when I sold 50 million. Anyway I tell you something: it is not important either. No longer. It was important in its time. No longer. Once you have done something in your career, it stops being important. The engine is always the same: it is the illusion. That which made me dedicate myself to this. Great things in the world are driven by illusion. Some have the illusion of reaching the Moon and others have the illusion of having a good harvest. That illusion is unstoppable. When the illusion is lost, you start to die.

Cant you ever in front of a single person? Exit and that there is almost no one.

There is a day that I remember perfectly. It was when I did what I call the

turned

of hungry. I was very young at the time and made my debut in Zaragoza. I would be 16 years old and I was moving with permission from my parents. I embarked on a tour that was initially very few people. I thought: This must be cut, because that way we are not going anywhere. I remember one night when I sang like it was the night of my life, giving it my all. And my manager goes and says: Hey, stop, stop, because this does not make sense. And me: Why? And him: Because there are 47 people. I replied: Already. But all 47 are standing.

What is it to be a classic?

A person who does not go out of style, who in his way of doing has adapted to the times, who is not a stranger in this square. There are people who say: This one no longer hits or his time has passed. But that does not bind the classic.

What is it to be modern?

The advanced. The one who dares with things that have not been done.

Can it be both?

I am both. Classic and modern.

What do you hear?

It depends on the moment. I like pop, symphonic music, classical music, flamenco, I even like zarzuela. It makes me laugh. I like tango very much. I think my best album is tangos. I did it 12 years ago. I was rehearsing with the pianist at my house. He says: listen to me [imita el acento argentino]You have to sing tangos. Tangos me? If I have never sung tangos. H.H. And he put the device on me [el Ipad] and I go out with 18 years old with Manuel Alejandro singing tangos in Buenos Aires. I did not remember.

Son of a worker and a housewife. Does that mark ideologically?

My father was a ferrallista, those who put the iron before the bricklayer arrives. I had a very happy and very modest childhood. My parents behaved very well with me because they let me do it. That is extremely important. I was 11 years old and I said at home: I am going to come at one in the morning. Because I go to the theater. And they: And what the hell are you going to the theater for? The first night I was late at that age, I was hit with a loud slap and I said to my mother: If this is going to be every night, you know that my life is this, you are going to have to hit me all the time. They never raised their hand to me again.

Does the Spaniard scream a lot?

The Spanish screams a lot. But also Italian and German. Except the Japanese.

And the Spanish politician?

Also.

You have grandchildren. What things worry you about young people?

Well, my children have children … They do not call me grandfather, but by my name … I am not worried about the technology itself, but I know how they use it, of course. It all depends on the use. I am very concerned about everything that concerns children because they are always defenseless beings.

What things does Raphael like to talk about?

Cinema and theater, books, the sea, cities … I know the whole world, but the best city to live is Madrid. I love Malaga, Seville, Salamanca … Of the books recently he

Homeland

and I liked it. I have a wonderful counselor and that is my wife [Natalia Figueroa]: I read what she advises me. I love that you read to me. Sometimes it does.

Of all the things you can no longer do, which one would you like to do again?

I do not miss anything. The good thing about age is that it teaches you to live differently. According to your circumstances.

Machado said that the men who are always back from all things are those who have never gone anywhere.

You are absolutely right. Those who speak of odes are the ones who have never been. My gaze is always forward. Because, sadly, there are a lot of projects on top. And if you don’t think about those projects, you get caught. I think out loud, it’s a very good thing. Thinking out loud you realize if you say some bullshit.

In 60 years of career they will have asked you about everything. What was the strangest thing?

I remember when we did the press conferences. Before, the artist gave a big press conference for everyone. The journalist was raising his hand and he was given the floor. One day in Mexico, a journalist asked me: Don’t you notice that there are fewer people this year? I stayed like this [abre mucho los ojos]. I replied: I don’t know why you come if you always ask me the same thing. Since then, we started doing interviews like this one we are doing and we stopped those press conferences.

What did you think seeing what happened to the elderly during the pandemic in Spain?

Ah come in. I am extremely high risk. Because, in addition to my age, I am transplanted. You see yourself in a mirror. You take things more seriously. I don’t know why people refuse to take care of themselves. Those young people who tell you: This is not for me, this is your problem. Young people who decide to go without protection.

Fear?

You are afraid to tell you that it will not be lying. Because it’s something you don’t know. That nobody knows. Of which now we begin to know something. Fear, yes.

What did I learn from the transplant?

To live.

To live differently?

To live.

In the film ‘Citizen Kane’, the protagonist, a tycoon who has it all, remembers the name of his childhood sled on his deathbed: ‘Rosebud’. What would your ‘Rosebud’ be?

A moment of childhood. That day my mother asked me what I was going to be like when I grew up and I, when I was only eight years old, answered her: Mother,

soy

artist.

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“Michelangelo”, a well-marbled man – Culture / Next

The subject of the biopic is Michelangelo at 40, in his relationship with sin, family, power, hell, all that. The artist is hairy and epileptic, angular and lousy, bony and dusty (the sculpture and the paths that lead to Rome, it digs and it makes a lot of dust), tortured everywhere except the cock (his homosexuality is only ‘hardly suggested). He has a pointed brown beard, as in the portrait of Jacopino Del Conte, but is it because the director, Andrei Konchalovsky, is Russian, because he was once on the set ofAndrei Rublev, because he filmed in his youth characters from Turgenev and Chekhov, or simply because he frames with a knife, in light diving, the chiseled and deceptively toothless mouth of the Italian actor Alberto Testone, clear eyes rolling their marbles and jawbones under pressure? He looks like a Russian pilgrim or a mad Tsar, like Ivan the Terrible. Michka the Florentine, then. Or, if you prefer, Alberto Test (ostér) one.

The action takes place roughly between 1512 and 1520: between the reluctant presentation to Pope Julius II of the ceiling of the Sistine Chapel and the moment when, like Buridan’s donkey, the character and opportunist genius, forced by political circumstances , comes and goes between two blocks of marble: that of the successor of Julius II, a Medici, who pays him to create the facade of the Basilica of San Lorenzo in Florence, and that of the parents of the late Julius II, the Della Rovere, enemies of the Medici, who pay him to complete the tomb of the dead.

tentacles

Michelangelo, as we know, will do neither. His embarrassed letters to each other show how much he had to praise (1). In the film, he ends by saying, gesturing like an albatross on the bridge: “Money always rubs shoulders with infamy.” And art too. To try to get out of it, after having come to a stop in front of a girl’s head, a boy’s foot, an imaginary tentacle, he asks for advice from the ghost of old Dante, who appears in a red costume, as in a painting. by Gustave Moreau, before melting into the night of a cave and the smoke bombs.

In a poem, Michelangelo summed up the atmosphere, at once violent, corrupt and conducive to art, in which he worked: “In so much serfdom, and so much disgust / full of false thoughts, at great peril / of my soul, here sculpting divine things.” The threatening rivalry between the Italian duchies, the ingratitude of his own family which lives on its hooks, the desire above all to do a work that goes beyond all this misery and the possible, all this leads our man to Carrara, where is the best stone; and here is, finally, the real hero of the film: an enormous block of marble, such as the tailors have never transported, and which everyone calls the monster. Konchalovsky makes several fixed and slick shots, all in vanishing lines, of the men stopped around this thing that it is a question of moving, of rolling down the slope, of transporting, and suddenly, we understand: this a block so white, so enormous, so disturbing, so inaccessible, this block which will ultimately lead to nothing is Moby Dick, the marble sperm whale.

Michka turns around, beard pointed, like Ahab with his harpoon. The beast crushes a man, then another, causes the murder of the blacksmith who had made the hooks at a discount, ends up stranded facing the sea, the artist not obtaining the right to embark it. The filmmaker is inspired by several letters from Michelangelo, for example that of September 13-14, 1518: “As for the marbles, the column I extracted is down the canal, fifty fathoms from the road, safe. Getting her down was a more difficult operation than I thought. A man was injured taking her down; another broke his neck and died on the spot; As for me, I almost died there. “

Pustule

In Rome, we also meet a televised Raphael double, an elephant from India, an obese and diabetic pope ripe for the Covid, shady priests, shaggy people. In all things, the film follows Michelangelo’s life fairly closely, but it does so like a medieval television series or comic book. roots, one of those albums of images in which neither a pustule, nor a mucus, nor a rat, nor a jerk, nor a grin, nor a line, nor a severed head is missing. Our children have seen others.

(1) Michelangelo. Selected match, presentation, translation and notes by Adelin Charles Fiorato, ed. Klincksieck, 552 pp., € 25 (ebook: € 16.99).

Philippe Lancon

Michelangelo d’Andreï Konchalovsky with Alberto Testone, Jakob Diehl, Francesco Gaudiello… 2 h 09.

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Philosopher Raphaël Enthoven: “The left is permeated with identitarian ideas”

RIn his novel “Le Temps gagné”, aphaël Enthoven, philosopher and writer, reckons with the complacency of the French left, the so-called “Gauche Caviar”.

Enthoven, son of a renowned publisher, ex-husband of the writer Justine Lévy and thus ex-son-in-law of the philosopher Bernard-Henri Lévy, hardly spares a character on his Proustian journey through time through the last decades. Only the singer Carla Bruni, mother of his son Aurélien and current wife Nicolas Sarkozy, remains for him the “most beautiful woman in the world”.

WORLD: The left has never risked reality, you say. What future do you give this left?

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