100全年历史图库118ttk

开通了花呗不还可以吗

来源:优酷体育频道

2019-12-06 23:02:50|100全年历史图库118ttk

  

  ROME — The Teatro alla Scala in Milan on Monday decided to return more than three million euros in funding to Saudi Arabia, amid growing criticism that Italy’s premier temple of music should not accept money from a country with a jarring human rights record.

  Mayor Giuseppe Sala said the theater’s board of directors had deliberated over the issue and “unanimously decided to return the money.” The directors blocked several ventures that had been under discussion, including allocating a board seat to Saudi Arabia’s culture minister in exchange for substantial investments.

  Mr. Sala and other Italian officials said Monday that the decision was not meant as a snub to the Saudis. It was based instead, they said, on other considerations, among them the legal implications of foreign membership on the theater’s board, which would have been a first.

  “There is no black list,” said Mr. Sala.

  But loud catcalls — a specialty of La Scala’s audiences, as it happens — rang out in Italy when news of a proposed accord between La Scala and the Saudi government was made public in recent weeks.

  Of special concern was the possibility that a Saudi official could sit on the board of the opera house. The current nine members represent municipal, regional and national governments, as well as Italian banks and the Italian oil giant Eni.

  Saudi Arabia’s human rights record has long been controversial, and was criticized anew after Saudi agents killed a Washington Post writer, Jamal Khashoggi, inside the Saudi Consulate in Istanbul last October.

  Worldwide, companies and institutions have shied away from Saudi funding since the killing. This month, the talent agency Endeavor announced that it had returned a 0 million investment.

  Critics in Italy say the Saudi human rights record is discordant with the values of a democratic country embodied by La Scala.

  One Milanese society matron was quoted as saying that the conductor Arturo Toscanini would turn in his grave. A columnist for Corriere della Sera, Giangiacomo Schiavi, warned that Saudi Arabia, “a country that instead of respecting human rights, treads on them,” would gain legitimacy through La Scala.

  Some lawmakers joined the choir of dissent.

  Senator Maurizio Gasparri called on Italy’s culture minister to address Parliament on the issue. Italy’s deputy prime minister, Matteo Salvini, said he preferred “for some people” not to be on the board and “for La Scala to be free, independent and autonomous.”

  “If the Swiss want to invest in La Scala,” Mr. Salvini said, “we would not have a problem.”

  Similar outrage greeted the decision to stage a showcase soccer game, the Supercoppa, between the Italian teams Juventus and A.C. Milan in Jidda, Saudi Arabia, in January.

  Alexander Pereira, La Scala’s superintendent, began meeting with Saudi officials last year to come up with summer tour dates for performances in Riyadh for 2019 and 2020. The discussions broadened to include the possible establishment of a music and dance conservatory for children in Riyadh in conjunction with the Accademia, La Scala’s arts schools.

  Saudi officials also broached the possibility of joining the theater’s board of administration, Mr. Pereira said in an interview published in La Repubblica, the Rome daily, earlier this month.

  To secure a spot on the 15-member board, a sponsor has to make a financial commitment of at least 15 million euros — about million — over five years. The aspiring board member must also be approved by the board and by the theater’s assembly.

  Mr. Pereira told La Repubblica that the Saudis were eager to commit and that La Scala’s board had agreed that such an agreement “was an opportunity to grab onto.”

  Mr. Sala, who as mayor of Milan is president of the board, said he appreciated Mr. Pereira’s fund-raising and partnership-building skills, which have allowed the theater to flourish.

  But in the case of Saudi involvement, the mayor said, “discussions happened too quickly.” Mr. Pereira, he said, had “misunderstood the situation.”

  Mr. Sala said that the process for joining the board was “complex” and that, in the case of the Saudi culture minister, had never been officially initiated. The Saudis sent three million euros and the money was placed in an escrow account until the board could vote on their membership. The board rejected it on Monday.

  “We decided we don’t need other board members, the group is fine as is,” Mr. Sala said in a telephone interview.

  The mayor did, however, appear to leave the door a little open.

  “It’s true that there is no intention to have Saudis on the board,” he said, “but that doesn’t mean that there is a diktat against the Saudis, that we’re not open to other forms of collaboration.”

  Mr. Pereira declined to be interviewed, but Paolo Besana, the theater’s spokesman, confirmed that such substantial foreign investment would have been a first. “The theater’s statute allows for foreign members of the board,” he said, “but obviously this becomes more delicate if the member is a foreign state.”

  Mr. Besana said that the opening of the conservatory in Saudi Arabia had been placed on hold but that the organization of the summer tours there was continuing.

  Italy’s culture minister, Alberto Bonisoli, was among those expressing concerns about the presence of a “representative of a foreign government on the board of a cultural institution.” He said it could give rise to diplomatic crises should problems arise within the board, requiring ministerial oversight, his spokesman, Giorgio Giorgi said.

  But the minister also believes that “collaboration on cultural initiatives and projects” is an integral part of Italy’s cultural diplomacy, Mr. Giorgi said.

  Mr. Sala said he wanted to keep channels of communication open with Saudi Arabia. Though the country’s human rights abuses are “very critical,” he said, “sports or music can be ways to support change in that culture.”

  “We should try to find the right solution,” he said.

B:

  

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  【战】【争】【结】【束】【了】。 【残】【存】【的】【生】【者】【们】【无】【暇】【歇】【息】,【他】【们】【往】【返】【奔】【波】【着】,【收】【敛】【着】【战】【死】【袍】【泽】【们】【的】【遗】【体】。 【夕】【阳】【照】【在】【大】【地】【上】,【照】【在】【活】【着】【和】【死】【了】【的】【战】【士】【的】【身】【体】【上】,【与】【地】【上】【淋】【漓】【的】【鲜】【血】【混】【在】【一】【起】,【将】【世】【间】【的】【一】【切】【都】【燃】【成】【暗】【淡】【的】【红】【色】。 【梅】【丘】【站】【在】【山】【坡】【之】【上】,【望】【着】【远】【处】【的】【人】【群】,【由】【于】【距】【离】【的】【缘】【故】,【他】【们】【看】【上】【去】【十】【分】【渺】【小】,【黑】【压】【压】【的】【一】【片】,【就】100全年历史图库118ttk【关】【闭】【电】【脑】【后】,【欧】【阳】【阳】【和】【照】【顾】【了】【自】【己】【一】【天】【的】【室】【友】【记】【了】【个】【掌】,【庆】【祝】【大】【师】【组】【开】【赛】【第】【一】【天】【稳】【占】【一】【席】【挑】【战】【者】【组】【位】【置】。 【洗】【完】【脸】【后】,【他】【爬】【上】【床】,【准】【备】【看】【会】【儿】【手】【机】【就】【休】【息】【了】,【没】【想】【到】【意】【外】【的】【收】【到】【一】【条】【好】【友】【信】【息】,【他】【这】【个】QQ【是】【私】【人】【的】,【用】【来】【跟】【同】【学】【朋】【友】【聊】【天】,【跟】【玩】【游】【戏】【的】【那】【个】【号】【分】【开】,【应】【该】【没】【有】【陌】【生】【人】【会】【加】【他】【才】【对】,【抱】【着】【好】【奇】【心】【通】【过】【了】

  “【被】【送】【走】【了】!?” 【小】【黑】【子】【听】【得】【一】【愣】。 【整】【个】【兴】【城】【的】【粮】【食】【不】【都】【是】【要】【送】【到】【这】【里】【来】【的】【吗】?【送】【到】【这】【里】【来】【之】【后】【又】【送】【走】【了】?【这】【是】【什】【么】【操】【作】?【难】【道】【某】【些】【商】【人】【想】【要】【跟】【其】【他】【城】【市】【进】【行】【粮】【食】【贸】【易】【不】【成】?? “【为】【什】【么】?”【小】【黑】【子】【追】【问】【道】。 “【不】,【不】【知】【道】。”【白】【胖】【子】【擦】【了】【擦】【脸】【上】【的】【汗】【水】,“【我】【只】【是】【个】【执】【行】【者】,【负】【责】【把】【账】【做】【好】,【不】【让】【其】

  【夏】【若】【伸】【手】【把】【钥】【匙】【套】【在】【手】【指】【上】,【她】【今】【天】【穿】【了】【一】【件】【灰】【色】【的】【风】【衣】,【拢】【了】【拢】【衣】【服】,【把】【司】【其】【往】【怀】【里】【送】【了】【送】,【才】【出】【门】。 【到】【剧】【组】【的】【时】【候】【已】【经】【是】【八】【点】【五】【十】【五】,【还】【有】【五】【分】【钟】【就】【准】【备】【开】【拍】。 【因】【为】《【像】【你】【的】【样】【子】》【是】【发】【生】【在】【孤】【儿】【院】【的】【事】【情】,【所】【以】【剧】【组】【电】【影】【取】【景】【也】【取】【在】【附】【近】【的】【一】【个】【孤】【儿】【院】。 【昨】【天】【晚】【上】【的】【时】【候】【夏】【若】【在】【网】【上】【买】【了】【一】【些】【小】【玩】【意】

  【李】【冰】【的】【抖】【音】【号】,【其】【实】【已】【经】【积】【累】【了】【超】【过】【二】【十】【万】【粉】【丝】,【不】【过】,【她】【不】【知】【道】【怎】【么】【经】【营】,【或】【者】【说】,【就】【是】【不】【知】【道】【如】【何】【在】【里】【面】【获】【利】; 【搞】【这】【些】【视】【频】,【本】【来】【就】【是】【因】【为】【张】【一】【帆】【的】【建】【议】,【然】【后】【很】【长】【一】【段】【时】【间】【都】【是】【由】【王】【北】【北】【来】【维】【护】,【还】【发】【了】【好】【一】【段】【年】【猪】【减】【肥】【的】【日】【常】; 【而】【现】【在】,【维】【护】【的】【权】【限】【到】【了】【她】【手】【里】,【每】【天】【除】【了】【发】【一】【些】【自】【己】【剪】【辑】【过】【的】【日】【常】【外】