Podcasts about akhnaten

Some of you may remember when I described my abduction in December 2015, and my subsequent encounter with the 3 tall beings at an unknown location, possibly a craft.The 3 beings showed me, or what I interpreted as otherworldly entities coming to Earth, landing a massive circular craft in the area of the Nile Delta, and expanding into various civilizations, conveying their knowledge and influence over multiple millennia.The civilization that these 3 beings seemed most interested in showing me was Ancient Egypt, around the time of Amenhotep III's reign during the 18th Dynasty. The scenario seemed to suggest that there was a profound sighting of a large, bright disk in the sky. The priests refused to interpret the sighting, but Amenhotep and his advisors believed it to be a God or Divine Deity. Years later, his son Amenhotep IV, later known as Akhnaten, determined this UAP was the Sun God, Aten. This resulted in his decree that the official Egyptian religion would be based on worshipping the one God, Aten, and the beginning of monotheism.Since my abduction, I have been fascinated with world religions and interpretations, in particular, ancient beliefs and how those beliefs manifested.So, this evening, I would like to discuss, along with input from the chat audience, the subject of extraterrestrial influence on man's beliefs, customs, and religion.Please write your comments and/or questions in CAPS. You can post these thoughts at any time, and we will attempt to conduct a discussion as seamlessly as possible. I appreciate your cooperation.Hi. My name is Lon Strickler. I hope that you enjoy listening to Phantoms & Monsters Personal Reports. I have a question for you. Have you ever had an unexplained sighting or encounter? Do you have photographic and/or video evidence of your experience? Would you like to share your unique story with our readers and listeners? Please feel free to forward your account to me, either through my email lonstrickler@phantomsandmonsters.com or call me at 410-241-5974. You can also visit my website at https://www.phantomsan...​ and use the contact link on the homepage. Your personal information will be kept confidential if requested.I have been a paranormal and anomalies researcher & investigator for over 45 years. My reports & findings have been featured in hundreds of online media sources. Several of these published reports have been presented on various television segments, including The History Channel's 'Ancient Aliens,' Syfy's 'Paranormal Witness', 'Fact or Faked: Paranormal Files,' Destination America's 'Monsters and Mysteries in America,' and, more recently, 'Unsolved Mysteries' on Netflix. I have been interviewed on hundreds of radio & online broadcasts, including multiple guest appearances on 'Coast to Coast AM.'One of my encounters was featured on Destination America's 'Monsters and Mysteries in America' television show for 'The Sykesville Monster' episode. I am a published author of 9 books on various cryptid & supernatural subjects.In addition, I am an intuitive who has worked with hundreds of clients who sought help with their personal hauntings and unexplained activities. I never charge for my services.If you feel that I can help answer your questions, please feel free to contact me. Thanks for your consideration.Do you have a report or encounter that you would like to be read on 'Personal Reports' & featured on the Phantoms & Monsters blog? Contact me at ⁠lonstrickler@phantomsandmonsters.com⁠Would you like to help us out? ⁠⁠https://www.buymeacoffee.com/lonstrickl0⁠⁠Phantoms & Monsters Homepage & Blog -⁠ ⁠https://www.phantomsandmonsters.com⁠⁠Books by Lon Strickler - ⁠⁠https://www.amazon.com/~/e/B009JURSD4⁠⁠You can also support us by using PayPal at ⁠https://bit.ly/4bXQgP8⁠Credits: All content licensed and/or used with permission.#God #extraterrestrial #religion #paranormal

Some of you may remember when I described my abduction in December 2015, and my subsequent encounter with the 3 tall beings at an unknown location, possibly a craft.The 3 beings showed me, or what I interpreted as otherworldly entities coming to Earth, landing a massive circular craft in the area of the Nile Delta, and expanding into various civilizations, conveying their knowledge and influence over multiple millennia.The civilization that these 3 beings seemed most interested in showing me was Ancient Egypt, around the time of Amenhotep III's reign during the 18th Dynasty. The scenario seemed to suggest that there was a profound sighting of a large, bright disk in the sky. The priests refused to interpret the sighting, but Amenhotep and his advisors believed it to be a God or Divine Deity. Years later, his son Amenhotep IV, later known as Akhnaten, determined this UAP was the Sun God, Aten. This resulted in his decree that the official Egyptian religion would be based on worshipping the one God, Aten, and the beginning of monotheism.Since my abduction, I have been fascinated with world religions and interpretations, in particular, ancient beliefs and how those beliefs manifested.So, this evening, I would like to discuss, along with input from the chat audience, the subject of extraterrestrial influence on man's beliefs, customs, and religion.Please write your comments and/or questions in CAPS. You can post these thoughts at any time, and we will attempt to conduct a discussion as seamlessly as possible. I appreciate your cooperation.Hi. My name is Lon Strickler. I hope that you enjoy listening to Phantoms & Monsters Personal Reports. I have a question for you. Have you ever had an unexplained sighting or encounter? Do you have photographic and/or video evidence of your experience? Would you like to share your unique story with our readers and listeners? Please feel free to forward your account to me, either through my email lonstrickler@phantomsandmonsters.com or call me at 410-241-5974. You can also visit my website at https://www.phantomsan...​ and use the contact link on the homepage. Your personal information will be kept confidential if requested.I have been a paranormal and anomalies researcher & investigator for over 45 years. My reports & findings have been featured in hundreds of online media sources. Several of these published reports have been presented on various television segments, including The History Channel's 'Ancient Aliens,' Syfy's 'Paranormal Witness', 'Fact or Faked: Paranormal Files,' Destination America's 'Monsters and Mysteries in America,' and, more recently, 'Unsolved Mysteries' on Netflix. I have been interviewed on hundreds of radio & online broadcasts, including multiple guest appearances on 'Coast to Coast AM.'One of my encounters was featured on Destination America's 'Monsters and Mysteries in America' television show for 'The Sykesville Monster' episode. I am a published author of 9 books on various cryptid & supernatural subjects.In addition, I am an intuitive who has worked with hundreds of clients who sought help with their personal hauntings and unexplained activities. I never charge for my services.If you feel that I can help answer your questions, please feel free to contact me. Thanks for your consideration.Do you have a report or encounter that you would like to be read on 'Personal Reports' & featured on the Phantoms & Monsters blog? Contact me at ⁠lonstrickler@phantomsandmonsters.com⁠Would you like to help us out? ⁠⁠https://www.buymeacoffee.com/lonstrickl0⁠⁠Phantoms & Monsters Homepage & Blog -⁠ ⁠https://www.phantomsandmonsters.com⁠⁠Books by Lon Strickler - ⁠⁠https://www.amazon.com/~/e/B009JURSD4⁠⁠You can also support us by using PayPal at ⁠https://bit.ly/4bXQgP8⁠Credits: All content licensed and/or used with permission.#God #extraterrestrial #religion #paranormal

Countertenor Anthony Roth Costanzo began performing professionally at the age of 11 and has since appeared in opera, concert, recital, film, and on Broadway. He has performed in the world's great opera houses and symphony halls.In June 2024, he began his tenure as the general director and president of Opera Philadelphia.His most recent album, Anthony Roth Costanzo & Justin Vivian Bond: Only an Octave Apart was released in January 2022. His first solo album, ARC was released in September 2018 and nominated for the 2019 GRAMMY Award for Best Classical Solo Vocal Album. He also stars on the Metropolitan Opera's recording and DVD of Akhnaten which won the 2022 GRAMMY award for best opera recording.Anthony was the recipient of the 2020 Beverly Sills Award from the Metropolitan Opera, a winner of the 2020 Opera News Award, and the 2019 Musical America vocalist of the year.He graduated Magna Cum Laude and Phi Beta Kappa from Princeton University where he was awarded the Lewis Sudler Prize for extraordinary achievement in the arts, and where he has returned to teach.

Proclive al minimalismo repetitivo y la orquesta sinfónica, el norteamericano experimenta con todo tipo de escenarios, desde la ópera y el cine hasta a la poesía. Estudioso de la matemática, la filosofía y la espiritualidad oriental, ha llegado a un público masivo con sus creaciones._____Has escuchadoConcerto for Violin and Orchestra (1987). David Nebel, violín; London Symphony Orchestra; Kristjan Järvi, director. Sony (2020)Cuarteto n.º 3 “Mishima” (1985). Cuarteto Quiroga, cuarteto de cuerda. Grabación sonora realizada en directo en la sala de conciertos de la Fundación Juan March, el 23 de noviembre de 2022Étude for Solo Piano, No. 2 (1995). Anthony Romaniuk, piano. Grabación sonora realizada en directo en la sala de conciertos de la Fundación Juan March, el 3 de mayo de 2023Glassworks. Opening (1981). Víkingur Ólafsson, piano. Deutsche Grammophon (2017)_____Selección bibliográficaEVANS, Tristian, Shared Meanings in the Film Music of Philip Glass: Music, Multimedia and Postminimalism. Ashgate, 2015FANET, Sylvain, Philip Glass: Accords et désaccords. Le Mot et le Reste, 2022FRANDSEN, Paul John, “Philip Glass's Akhnaten”. The Musical Quarterly, vol. 77, n.º 2 (1993), pp. 241-267*GLASS, Philip et al., Music by Philip Glass. Harper & Row, 1987—, Palabras sin música: memorias. Malpaso Ediciones, 2017GLASS, Philip y John Howell, “Interview: Satyagraha and Contemporary Opera”. Performing Arts Journal, vol. 6, n.º 1 (1981), pp. 68-83*GRIMSHAW, Jeremy, “High, ‘Low,' and Plastic Arts: Philip Glass and the Symphony in the Age of Postproduction”. The Musical Quarterly, vol. 86, n.º 3 (2002), pp. 472-507*HASKINS, Rob et al., “Philip Glass and Michael Riesman: Two Interviews”. The Musical Quarterly, vol. 86, n.º 3 (2002), pp. 508-529*KOSTELANETZ, Richard (ed.), Writings of Glass. Essays, Interviews, Criticism. University of California Press, 1999NICKLESON, Patrick, The Names of Minimalism: Authorship, Art Music, and Historiography in Dispute. University of Michigan Press, 2023POTTER, Keith, Four Musical Minimalists: La Monte Young, Terry Riley, Steve Reich, Philip Glass. Cambridge University Press, 2000*RICHARDSON, John, Singing Archaeology: Philip Glass's Akhnaten. University Press of New England, 1999SWED, Mark, “Philip Glass's Operas”. The Musical Times, vol. 129, n.º 1749 (1988), pp. 577-579WATERS, Robert (Robert Francis), The Stage Works of Philip Glass. Cambridge University Press, 2022 *Documento disponible para su consulta en la Sala de Nuevas Músicas de la Biblioteca y Centro de Apoyo a la Investigación de la Fundación Juan March

For this Musicals Magazine Podcast, Edward Seckerson meets Zachary James, who's currently hotting up the Underworld on the other side of that wall in Hadestown. James, who originated the role of Lurch in the Andrew Lippa musicalisation of The Addams Family, is perhaps best known to date – indeed immortalised – as The Scribe/Amenhotep III in Philip Glass's Akhnaten in the jaw-dropping Phelim McDermott, Olivier Award-winning staging at English National Opera in 2016. His work has straddled the opera and Musical Theatre worlds in intriguing ways and as an actor-singer his work is nothing if not diverse. Plus his 6'6” frame makes him hard to miss.   Never miss an issue of Musicals magazine – subscribe today The opening and closing musical excerpts featured in this podcast are from the Overture to Gypsy (film version), taken from Jule Styne's ‘Overtures Vol 2', courtesy of JAY Records.

US-born Zachary James is a Grammy award winning actor and musician, who has had a lustrous career across stage and screen, having originated several iconic Broadway roles and sung with the world's greatest orchestras and opera companies, including The New York Philharmonic, Philadelphia Orchestra and NHK Symphony Tokyo to name a few.   He will be returning to the West End as ‘Hades' in the Tony and Grammy winning musical, HADESTOWN. The Broadway musical is making its long-awaited London premiere, and follows the entwining mythic tale of two love stories between Orpheus and Eurydice and that of King Hades of the Underworld and his wife Persephone. The show will open at the Lyric Theatre on 10th February, described by Vogue as ‘your next musical theatre obsession'.   After majoring in Musical Theatre at Ithaca College, James made his Broadway debut in CORAM BOY at the Imperial Theatre before playing ‘Thomas Hassinger' in the original cast of the Tony Award winning production of SOUTH PACIFIC (Lincoln Center). He then originated the role of ‘Lurch' in the Broadway musical of THE ADDAMS FAMILY (Lunt-Fontanne Theatre), followed by his professional operatic debut as ‘Abraham Lincoln' in THE PERFECT AMERICAN (Teatro Real) in Madrid, which was written specifically for Zachary by renowned composer, Philip Glass. He then revived the role on the West End for English National Opera and in Brisbane for Opera Queensland.   Following this, Zachary created the role of ‘Amenhotep' in the Olivier Award winning production of AKHNATEN on the West End for English National Opera, later reprising the role for The Metropolitan Opera and Los Angeles Opera. Other theatre highlights include the role of ‘John Claggart' in the Emmy Award winning PBS broadcast of BILLY BUDD (Des Moines Metro Opera), ‘Sweeney Todd' in SWEENEY TODD (Opera Omaha) and more.   Zachary made his first television debut alongside Tina Fey and Steve Martin as ‘Carl', a Federal Agent, on beloved American sitcom 30 ROCK before appearing on a number of series including MURPHY BROWN, LAW & ORDER: ORGANIZED CRIME, and THE BLACKLIST.

Luxury and Power is the title of a new British Museum exhibition focusing on the politics of display used by rulers in Persia and Greece. Ahead of the coronation, Anne McElvoy hears from the curator, from academics researching past royal rituals in Tudor and Medieval England and about power and royalty on the operatic stage from Verdi's Don Carlos and Aida and to Philip Glass's Akhnaten and Britten's Gloriana. Dr Jamie Fraser is curator for the Ancient Levant and Anatolia at the British Museum and has curated Luxury and power: Persia to Greece Dr Joanne Paul is a writer, historian and broadcaster working on the history of the Renaissance, Tudor and Early Modern Periods. Professor Sarah Hibberd is Stanley Hugh Badock Chair of Music at the University of Bristol. Her research focuses on nineteenth century opera and music theatre in Paris and London. Dr Julia Hartley is a BBC Radio 3/AHRC New Generation Thinker who writes about Dante, Proust and representations of Iran. She lectures at the University of Glasgow School of Modern Languages and Cultures. Producer: Ruth Watts Luxury and power: Persia to Greece runs at the British Museum in London from 4 May 2023 - 13 Aug 2023 On BBC Radio 3 you can find a discussion about recordings of Coronation Anthems on Building a Library, part of Record Review and music by Royal composers featured on In Tune and Radio 3 is broadcasting the music commissioned for the coronation before the ceremony begins. You can find that on BBC Sounds Music: Meyerbeer, Le Prophète, The Coronation March, London Symphony Orchestra, Richard Bonynge, Decca – SXL.6541 Verdi, Don Carlos, Act II, Cejour heureux est plein d'allgègresse! Coro del Teatro alla Scala di Milano, Claudia Abbado, Deutsche Grammophon – DEF058231107

Anthony Roth Costanzo is one of the world's most in demand countertenors who has recently completed a run of Philip Glass' opera Akhnaten at English National Opera, performing the title role of the legendary Egyptian king. In this short interview (Anthony was very kindly taking some time out from his off day to speak to me), we talked about some of the challenges of performing the very demanding role of Akhnaten, working directly with Philip Glass, the development of the countertenor voice, presenting classical music to new audiences, and bringing joy to audiences on stage. Anthony's bio: https://anthonyrothcostanzo.com/About. The i's review of Akhnaten: https://inews.co.uk/culture/akhnaten-london-coliseum-review-astonishing-staging-philip-glass-proves-why-we-need-the-eno-2216322. Anthony's Humans of Classical Music video: https://www.youtube.com/watch?v=SXab0t6dnSE. Anthony's performance of Gershwin's classic "I Got Rhythm": https://www.youtube.com/watch?v=YAnyv4LV8ko. Interview with Anthony recorded 20 March 2023; podcast published 8 April 2023. Main editing by German at Your Podcast Editor. Anchor is now part of Spotify for Podcasters. --- Send in a voice message: https://podcasters.spotify.com/pod/show/talking-classical-podcast/message

Sam speaks to soprano Ella Taylor about their upcoming roles in Philip Glass's Akhnaten at ENO and Verdi's Don Carlo at the Royal Opera. The conversation turns to Ella's trepidation at embarking on a new production with a new set of co-workers, what it means to be a trans singer playing trouser roles – and ancient Egyptian trivia.…Links:Trans Voices video: https://www.theguardian.com/culture/video/2022/mar/10/the-uks-first-professional-trans-choir-its-a-joyful-act-of-resistance Akhnaten at ENO: https://www.eno.org/whats-on/akhnaten/ Don Carlo at ROH: https://www.roh.org.uk/tickets-and-events/don-carlo-by-nicholas-hytner-details Shadwell's Powder Down: https://shadwell.bandcamp.com/album/powder-down … Buy us a coffee innit: https://ko-fi.com/classicalpod … Follow us here: instagram.com/classicalpod/ twitter.com/ClassicalPod facebook.com/ClassicalPod/

Luke Jones meets the countertenor Anthony Roth Costanzo, whose show Only An Octave Apart is about to begin a month long run at Wilton's Music Hall in London. He discusses how he discovered his range, why he fuses opera with pop and his return to the ENO next year in Philip Glass's Akhnaten. Luke takes a tour round See Monster in Weston-super-Mare, a retired North Sea rig that's been turned into one of the UK's largest art installations as part of the Unboxed festival. And a discussion on the impact of the cost of living crisis on theatre and live music. Jamie Njoku-Goodwin speaks from the Labour Party Conference and Mark Davyd from the Music Venue Trust. Eleanor Lloyd from (SOLT) The Society of London Theatres/UK Theatre.

This week, host Isaac Butler talks to Shanta Thake, chief artistic officer of New York City's Lincoln Center for the Performing Arts. In the interview, Shanta describes the different branches of Lincoln Center and discusses the institution's new mission to make all of those branches more welcoming and accessible to more people. She also describes her role as a curator and explains how she and her team are always on the lookout for new talent.  After the interview, Isaac and co-host Karen Han discuss the business side of live production. They also interrogate Isaac's claim that “90% of art is bad.”  In the exclusive Slate Plus segment, Shanta and Isaac talk about one of their favorite operas, Philip Glass' Akhnaten.  Send your questions about creativity and any other feedback to working@slate.com or give us a call at (304) 933-9675. Podcast production by Cameron Drews. If you enjoy this show, please consider signing up for Slate Plus. Slate Plus members get an ad-free experience across the network and exclusive content on many shows—you'll also be supporting the work we do here on Working. Sign up now at slate.com/workingplus to help support our work. -- Check out Remote Works here: https://link.chtbl.com/remoteworks?sid=podcast.WORKING Learn more about your ad choices. Visit megaphone.fm/adchoices

This week, host Isaac Butler talks to Shanta Thake, chief artistic officer of New York City's Lincoln Center for the Performing Arts. In the interview, Shanta describes the different branches of Lincoln Center and discusses the institution's new mission to make all of those branches more welcoming and accessible to more people. She also describes her role as a curator and explains how she and her team are always on the lookout for new talent.  After the interview, Isaac and co-host Karen Han discuss the business side of live production. They also interrogate Isaac's claim that “90% of art is bad.”  In the exclusive Slate Plus segment, Shanta and Isaac talk about one of their favorite operas, Philip Glass' Akhnaten.  Send your questions about creativity and any other feedback to working@slate.com or give us a call at (304) 933-9675. Podcast production by Cameron Drews. If you enjoy this show, please consider signing up for Slate Plus. Slate Plus members get an ad-free experience across the network and exclusive content on many shows—you'll also be supporting the work we do here on Working. Sign up now at slate.com/workingplus to help support our work. -- Check out Remote Works here: https://link.chtbl.com/remoteworks?sid=podcast.WORKING Learn more about your ad choices. Visit megaphone.fm/adchoices

This week, host Isaac Butler talks to Shanta Thake, chief artistic officer of New York City's Lincoln Center for the Performing Arts. In the interview, Shanta describes the different branches of Lincoln Center and discusses the institution's new mission to make all of those branches more welcoming and accessible to more people. She also describes her role as a curator and explains how she and her team are always on the lookout for new talent.  After the interview, Isaac and co-host Karen Han discuss the business side of live production. They also interrogate Isaac's claim that “90% of art is bad.”  In the exclusive Slate Plus segment, Shanta and Isaac talk about one of their favorite operas, Philip Glass' Akhnaten.  Send your questions about creativity and any other feedback to working@slate.com or give us a call at (304) 933-9675. Podcast production by Cameron Drews. If you enjoy this show, please consider signing up for Slate Plus. Slate Plus members get an ad-free experience across the network and exclusive content on many shows—you'll also be supporting the work we do here on Working. Sign up now at slate.com/workingplus to help support our work. -- Check out Remote Works here: https://link.chtbl.com/remoteworks?sid=podcast.WORKING Learn more about your ad choices. Visit megaphone.fm/adchoices

This week, host Isaac Butler talks to Shanta Thake, chief artistic officer of New York City's Lincoln Center for the Performing Arts. In the interview, Shanta describes the different branches of Lincoln Center and discusses the institution's new mission to make all of those branches more welcoming and accessible to more people. She also describes her role as a curator and explains how she and her team are always on the lookout for new talent.  After the interview, Isaac and co-host Karen Han discuss the business side of live production. They also interrogate Isaac's claim that “90% of art is bad.”  In the exclusive Slate Plus segment, Shanta and Isaac talk about one of their favorite operas, Philip Glass' Akhnaten.  Send your questions about creativity and any other feedback to working@slate.com or give us a call at (304) 933-9675. Podcast production by Cameron Drews. If you enjoy this show, please consider signing up for Slate Plus. Slate Plus members get an ad-free experience across the network and exclusive content on many shows—you'll also be supporting the work we do here on Working. Sign up now at slate.com/workingplus to help support our work. -- Check out Remote Works here: https://link.chtbl.com/remoteworks?sid=podcast.WORKING Learn more about your ad choices. Visit megaphone.fm/adchoices

Grammy-winning countertenor Anthony Roth Constanzo talks about his unique style and gender-bending repertoire from Phillip Glass' Akhnaten to his collaboration with transgender singer-songwriter Justin Vivian Bond (interviewed by Brian DeShazor). Host Billy Eichner and winners Bad Bunny and Dove Cameron lead the queer contingent at the MTV Video Music Awards! And in NewsWrap: The Eastern Caribbean Supreme Court finds the “sodomy” and “buggery” laws of Saint Kitts and Nevis unconstitutional, India's Supreme Court supports legal protections and social benefits for same-gender couples, Belgrade EuroPride organizers say Serbian President Aleksandar Vučić had no right to cancel their upcoming event, the Fifth U.S. Circuit Court of Appeals favors religious healthcare professionals' right to refuse trans patients treatment, a Kansas teacher wins compensation for a suspension incurred for refusing to use a transgender student's correct name and pronouns, Brazil's President Jair Bolsonaro faces jail time on charges related to lies connecting COVID-19 vaccinations to HIV/AIDS, and more international LGBTQ news reported this week by Joe Boehnlein and MR Raquel (produced by Brian DeShazor). All this on the September 5, 2022 edition of This Way Out! Join our family of listener-donors today at http://thiswayout.org/donate/

Zachary James (The Metropolitan Opera's Akhnaten, Broadway's The Addams Family) feeds Jimmy gazpacho for the first time. They also discuss Jimmy's first exposure to opera, Zach's performing at the Metropolitan Opera and Zach's special connection to gazpacho.  Jimmy's mother recaps the storylines of her favorite soap operas.

Attending an opera premiere at the Metropolitan Opera is a big deal. And it can become epic. Listen to LTNF Live about the opera Akhnaten.

A decade ago, Costanzo had surgery that threatened to destroy his singing voice. Now he stars as a gender-fluid Egyptian pharaoh in the Met Opera's production of Philip Glass' Akhnaten. He's a countertenor, meaning he sings in a high range that's associated with women's voices. He knows all about the history of countertenors and their predecessors, castrati.Justin Chang reviews the new film Memoria, starring Tilda Swinton, which he calls a "sonic detective story."

A decade ago, Costanzo had surgery that threatened to destroy his singing voice. Now he stars as a gender-fluid Egyptian pharaoh in the Met Opera's production of Philip Glass' Akhnaten. He's a countertenor, meaning he sings in a high range that's associated with women's voices. He knows all about the history of countertenors and their predecessors, castrati.Justin Chang reviews the new film Memoria, starring Tilda Swinton, which he calls a "sonic detective story."

Subscribe to Quotomania on Simplecast or search for Quotomania on your favorite podcast app!Through his operas, his symphonies, his compositions for his own ensemble, and his wide-ranging collaborations with artists ranging from Twyla Tharp to Allen Ginsberg, Leonard Cohen to David Bowie, Philip Glass has had an extraordinary and unprecedented impact upon the musical and intellectual life of his times.The operas – “Einstein on the Beach,” “Satyagraha,” “Akhnaten,” and “The Voyage,” among many others – play throughout the world's leading houses, and rarely to an empty seat. Glass has written music for experimental theater and for Academy Award-winning motion pictures such as “The Hours” and Martin Scorsese's “Kundun,” while “Koyaanisqatsi,” his initial filmic landscape with Godfrey Reggio and the Philip Glass Ensemble, may be the most radical and influential mating of sound and vision since “Fantasia.” His associations, personal and professional, with leading rock, pop and world music artists date back to the 1960s, including the beginning of his collaborative relationship with artist Robert Wilson. Indeed, Glass is the first composer to win a wide, multi-generational audience in the opera house, the concert hall, the dance world, in film and in popular music – simultaneously.He was born in 1937 and grew up in Baltimore. He studied at the University of Chicago, the Juilliard School and in Aspen with Darius Milhaud. Finding himself dissatisfied with much of what then passed for modern music, he moved to Europe, where he studied with the legendary pedagogue Nadia Boulanger (who also taught Aaron Copland , Virgil Thomson and Quincy Jones) and worked closely with the sitar virtuoso and composer Ravi Shankar. He returned to New York in 1967 and formed the Philip Glass Ensemble – seven musicians playing keyboards and a variety of woodwinds, amplified and fed through a mixer.The new musical style that Glass was evolving was eventually dubbed “minimalism.” Glass himself never liked the term and preferred to speak of himself as a composer of “music with repetitive structures.” Much of his early work was based on the extended reiteration of brief, elegant melodic fragments that wove in and out of an aural tapestry. Or, to put it another way, it immersed a listener in a sort of sonic weather that twists, turns, surrounds, develops.There has been nothing “minimalist” about his output. In the past 25 years, Glass has composed more than twenty five operas, large and small; twelve symphonies, thirteen concertos; soundtracks to films ranging from new scores for the stylized classics of Jean Cocteau to Errol Morris's documentary about former defense secretary Robert McNamara; nine string quartets; a growing body of work for solo piano and organ. He has collaborated with Paul Simon, Linda Ronstadt, Yo-Yo Ma, and Doris Lessing, among many others. He presents lectures, workshops, and solo keyboard performances around the world, and continues to appear regularly with the Philip Glass Ensemble.From https://philipglass.com/biography/. For more information about Philip Glass:Words Without Music: https://wwnorton.com/books/Words-Without-Music/“The beginner's guide to Philip Glass”: https://www.eno.org/discover-opera/the-beginners-guide-to-philip-glass/“How Philip Glass Went From Driving Taxis to Composing”: https://www.theatlantic.com/business/archive/2018/04/philip-glass-taxi-driver-composer/558278/“Philip Glass”: https://www.interviewmagazine.com/music/philip-glass

Karen Kamensek is the guest conductor for Charlotte Symphony (CSO) and leads a program with Sibelius' Symphony No. 2 and Shostakovich's Violin Concerto No. 1 featuring CSO concertmaster Calin Lupanu. Kamensek is in demand around the world as a guest conductor for both opera productions and symphonic concerts. Her recording of Philip Glass's Akhnaten with the Metropolitan Opera Orchestra and Chorus recently won the Grammy for Best Opera Recording. She talks about what she's learned from Philip Glass, what it's like to work with a brand-new orchestra, and how conducting operas and concerts are different. Pictured: Conductor Karen Kamensek by Denise Biffar.

Bókmenntasagan er uppfull af eyjum, sem sögusvið, sem táknmynd, sem hugarástand. Í fyrirlestri sem haldinn var í Háskóla Íslands í hádeginu í dag fjallaði Ástráður Eysteinsson prófessor í almennri bókmenntafræði um eyjafræði og bókmenntir. Þar fjallaði hann um þetta þverfræðilega rannsóknasvið, eyjafræðina og hvernig það birtist í bókmenntum, bæði erlendum og íslenskum. Ástráður verður gestur víðsjár hér í lok þáttar og segir okkur betur frá þessu forvitnilega fræðasviði. Snorri Rafn Hallsson, heimspekingur og dagskrárgerðarmaður í Vín, heldur áfram með pistla sína um atvinnumál hér í Víðsjá. Í dag fer Snorri Rafn á örlítið tilraunakenndari slóðir en áður. Í pistli dagsins tengir hann heimspeki Hönnuh Arendt við söngtifur, lítil skordýr sem dvelja ofan í jörðinni mestan hluta ævinnar. Hvað ætli þær geti sagt okkur um stöðu vinnunnar í tilveru okkar? En við byrjum á að taka á móti góðum gesti hér í Víðsjá. Dísella Lárusdóttir sópran söngkona er nýkomin til landsins eftir að hafa tekið á móti Grammy-verðlaunum í Las Vegas. Dísella tók við verðlaunum fyrir bestu óperu-upptöku af óperunni Akhnaten eftir Philip Glass, þar sem Dísella fer með eitt af burðarhlutverkunum. Dísella lenti í morgun og mætti nánast beint til okkar í afar frjálslegt spjall, ásamt dóttur sinni Snædísi Lind. Umsjón: Halla Harðardóttir og Jóhannes Ólafsson.

Bókmenntasagan er uppfull af eyjum, sem sögusvið, sem táknmynd, sem hugarástand. Í fyrirlestri sem haldinn var í Háskóla Íslands í hádeginu í dag fjallaði Ástráður Eysteinsson prófessor í almennri bókmenntafræði um eyjafræði og bókmenntir. Þar fjallaði hann um þetta þverfræðilega rannsóknasvið, eyjafræðina og hvernig það birtist í bókmenntum, bæði erlendum og íslenskum. Ástráður verður gestur víðsjár hér í lok þáttar og segir okkur betur frá þessu forvitnilega fræðasviði. Snorri Rafn Hallsson, heimspekingur og dagskrárgerðarmaður í Vín, heldur áfram með pistla sína um atvinnumál hér í Víðsjá. Í dag fer Snorri Rafn á örlítið tilraunakenndari slóðir en áður. Í pistli dagsins tengir hann heimspeki Hönnuh Arendt við söngtifur, lítil skordýr sem dvelja ofan í jörðinni mestan hluta ævinnar. Hvað ætli þær geti sagt okkur um stöðu vinnunnar í tilveru okkar? En við byrjum á að taka á móti góðum gesti hér í Víðsjá. Dísella Lárusdóttir sópran söngkona er nýkomin til landsins eftir að hafa tekið á móti Grammy-verðlaunum í Las Vegas. Dísella tók við verðlaunum fyrir bestu óperu-upptöku af óperunni Akhnaten eftir Philip Glass, þar sem Dísella fer með eitt af burðarhlutverkunum. Dísella lenti í morgun og mætti nánast beint til okkar í afar frjálslegt spjall, ásamt dóttur sinni Snædísi Lind. Umsjón: Halla Harðardóttir og Jóhannes Ólafsson.

Bókmenntasagan er uppfull af eyjum, sem sögusvið, sem táknmynd, sem hugarástand. Í fyrirlestri sem haldinn var í Háskóla Íslands í hádeginu í dag fjallaði Ástráður Eysteinsson prófessor í almennri bókmenntafræði um eyjafræði og bókmenntir. Þar fjallaði hann um þetta þverfræðilega rannsóknasvið, eyjafræðina og hvernig það birtist í bókmenntum, bæði erlendum og íslenskum. Ástráður verður gestur víðsjár hér í lok þáttar og segir okkur betur frá þessu forvitnilega fræðasviði. Snorri Rafn Hallsson, heimspekingur og dagskrárgerðarmaður í Vín, heldur áfram með pistla sína um atvinnumál hér í Víðsjá. Í dag fer Snorri Rafn á örlítið tilraunakenndari slóðir en áður. Í pistli dagsins tengir hann heimspeki Hönnuh Arendt við söngtifur, lítil skordýr sem dvelja ofan í jörðinni mestan hluta ævinnar. Hvað ætli þær geti sagt okkur um stöðu vinnunnar í tilveru okkar? En við byrjum á að taka á móti góðum gesti hér í Víðsjá. Dísella Lárusdóttir sópran söngkona er nýkomin til landsins eftir að hafa tekið á móti Grammy-verðlaunum í Las Vegas. Dísella tók við verðlaunum fyrir bestu óperu-upptöku af óperunni Akhnaten eftir Philip Glass, þar sem Dísella fer með eitt af burðarhlutverkunum. Dísella lenti í morgun og mætti nánast beint til okkar í afar frjálslegt spjall, ásamt dóttur sinni Snædísi Lind. Umsjón: Halla Harðardóttir og Jóhannes Ólafsson.

Akhnaten Burrowes is an up and coming actor and the award winning Bajan social media influencer behind the web series Bev. His blend of humor and Bajan culture connects his fans at home and around the world with nostalgia and laughter.In this episode, Akhnaten discusses his inspiration for Bev, his upcoming sitcom, and his aspirations to work with award-winning playwright and cinematic innovator Tyler Perry.Listen and share with others interested in becoming a social media personality and the content creator space.

Jess Gillam is joined by composer Carlos Simon to share the music they love including the Philip Glass opera Akhnaten, Quincy Jones' Happy Feet, Gabriela Lena Frank, Earth Wind and Fire and a cracking tune from Sibelius. Playlist: Philip Glass - Funeral of Amenhotep (from Akhnaten) [Metropolitan Opera Orchestra & Chorus, Karen Kamensek, Zachary James] Bach - Sonata for Violin and Keyboard No.3 in E Major, BWV 1016; 3rd movement [Renaud Capuçon (violin), David Fray (piano)] Quincy Jones - Happy Feet (from the movie Walk, Don't Run) Traditional – The Butcher's Boy [Kronos Quartet, Natalie Merchant] Gabriela Lena Frank - Leyendas, “An Andean Walkabout” - mvt. 2 Tarqueada [Chiara Quartet] Fanny Mendelssohn - Das Jahr - June [Liana Serbescu (piano)] Earth Wind and Fire - Can't Let Go Sibelius - Symphony No. 2 in D major, Op. 43; 2nd Movement [New York Philharmonic, Leonard Bernstein]

 Akhnaten is an opera in three acts based on the life and religious convictions of the Egyptian pharaoh Akhenaten (Amenhotep IV), written by the American composer Philip Glass in 1983. The libretto is by Philip Glass in association with Shalom Goldman, Robert Israel, Richard Riddell, and Jerome Robbins. According to the composer, this work is the culmination of his two other biographical operas, Einstein on the Beach (about Albert Einstein) and Satyagraha (about Mahatma Gandhi). These three people – Akhenaten, Einstein, and Gandhi – were all driven by an inner vision that altered the age in which they lived, in particular Akhenaten in religion, Einstein in science, and Gandhi in politics. Purchase the music (without talk) at: http://www.classicalsavings.com/store/p1399/Glass%3A_Akhnaten.htmlYour purchase helps to support our show!  Classical Music Discoveries is sponsored by La Musica International Chamber Music Festival and Uber.  @khedgecock #ClassicalMusicDiscoveries #KeepClassicalMusicAlive #LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans #CMDGermanOperaCompanyofBerlin #CMDGrandOperaCompanyofBarcelonaSpain #ClassicalMusicLivesOn #Uber  Please consider supporting our show, thank you! http://www.classicalsavings.com/donate.html  staff@classicalmusicdiscoveries.com 

Just like the Company itself, City Ballet The Podcast is back, with a brand new Hear the Dance episode on Jerome Robbins' Glass Pieces. Returning host Silas Farley is joined by former Principal Dancers and original cast members Helene Alexopoulos, Maria Calegari, and Bart Cook, and current Corps de Ballet Member Gretchen Smith, for a conversation about this galvanizing masterwork. The originating dancers provide rare behind-the-scenes insights into Robbins' process, from his use of “guinea pigs” to the multiple iterations that reflected the choreographer's shifting mood and sense of the work in progress, and commiserate with Smith about the challenges the various corps roles in Glass Pieces present. (44:37) Written by Silas Farley Edited by Emilie Silvestri Reading List: Somewhere: The Life of Jerome Robbins by Amanda Vaill Words Without Music by Philip Glass Jerome Robbins: By Himself by Amanda Vaill Music: Concerto for Violin and Orchestra in D major (1931) by Igor Stravinsky Rubric and Façades from Glassworks, excerpts from the opera Akhnaten by Philip Glass All music performed by the New York City Ballet Orchestra.

Host Silas Farley delves deep into the creation of Jerome Robbins' Glass Pieces in part two of this new Hear the Dance episode. Former NYCB Principal Dancers and husband and wife duo Maria Calegari and Bart Cook share intimate details about the second movement pas de deux, the development of which marked the beginning of their relationship; Corps de Ballet Member Gretchen Smith remarks on the shared legacy of performing these roles and knowing that “Everything we're taught now is learned through those that were in the room”; and former Principal Dancer Helene Alexopoulos reflects on the importance of Glass Pieces as a celebration of the Company through its focus on the corps de ballet—and an important statement from Robbins, as the work premiered just two weeks after George Balanchine's death. (30:07) Written by Silas Farley Edited by Emilie Silvestri Reading List: Somewhere: The Life of Jerome Robbins by Amanda Vaill Words Without Music by Philip Glass Jerome Robbins: By Himself by Amanda Vaill Music: Concerto for Violin and Orchestra in D major (1931) by Igor Stravinsky Rubric and Façades from Glassworks, excerpts from the opera Akhnaten by Philip Glass All music performed by the New York City Ballet Orchestra.

Synopsis On today's date in 1980, “Satyagraha,” an opera by the American composer Philip Glass had its premiere in Rotterdam by the Netherlands Opera. Four years earlier, Glass's first opera, “Einstein on the Beach,” had scored a big hit not only in Avignon, France, where it had premiered, but also at a special, non-subscription performance at New York's Metropolitan Opera. But “Einstein” had been written for Glass's own electronic keyboard ensemble, while the new opera “Satyagraha” was written for the more traditional opera pit orchestra of strings, winds, and brass – in some ways, a new language for Glass to learn. And speaking of new languages, for opera singers used to singing in Italian, French or German, the libretto for “Satyagraha,” crafted by Glass and Constance DeJong was to be sung in ancient Sanskrit, based on texts from the Bhagavad Gita. "Satyagraha" is a Sanskrit word meaning "truth force." While the text is ancient, the story of the opera is set in modern times and deals with Mahatma Gandhi's early years in South Africa and his development of non-violent protest as a political tool. “Satyagraha” is the second in Glass's opera trilogy about men who changed the world: Einstein, Gandhi, and the ancient Egyptian pharaoh Akhnaten. Music Played in Today's Program Philip Glass (b. 1937): Satyagraha (New York City Opera; Christopher Keene, cond.) Sony 39672

Patrick and Bob compare and contrast episode 48 of Gundam Wing and G Gundam to learn what works and does not about each of them.  Patrick mourns the loss of a dear friend. Bob tries to determine how much he could chuck if he could chuck wood. Lev wants him to shut up about. What does he do to silence Bob? Find out on this week's episode of Zaku Talk! E-mail the host as zakutalkcast@gmail.com Akhnaten (and Satyagraha) performed at the Met, available at: https://www.metoperashop.org/all-products/browse/keyword/akhnaten-orange-mountain-music?utm_source=MOSHome&utm_medium=MOSHome&utm_campaign=MOSBannerButtons&utm_content=Banner5 Funny videos available at: https://www.dropout.tv/   Opening song - Erupting Burning Finger by Kohei Tanaka Ending song - Rhythm Emotion by Two-Mix Artwork by Kiley Mantis zaku, talk, gundam, skeyhill, quixotic, wing, g, skerry, rhythm, emotion, erupting, burning, finger, forty, eight, 48

Podcast for a deep examination into the career and life choices of Julia Roberts. Joe campaigns against the celebration of St. Patrick's Day for religious reasons. Lev is surprised Patrick does not take more offense. It is because Patrick is annoyed when his mailman refuses to deliver his mail so he spends all episode plotting a spicy revenge. How spicy? Find out on this week's episode of 'What the Hell Happened to Them?' Email the cast at whathappenedtothem@gmail.com Disclaimer: This episode was recorded in June 2021. References may feel confusing and/or dated unusually quickly. 'Pretty Woman' is available on DVD, Blu-ray (they finally made it!) and VHS (what a throwback): https://www.amazon.com/Pretty-Woman-Julia-Roberts/dp/B083JKNVQY/ref=tmm_blu_swatch_0?_encoding=UTF8&qid=&sr= Music from 'I Love Lucy Theme' by Harold Adamson & Eliot Daniel 'The Window of Appearance' from the opera Akhnaten by Philip Glass Artwork from BJ West   quixotic, united, skeyhill, vekeman, julia, roberts, syzygy, pretty, woman, gear, gere, geare, prostitutes, prostitution, lucy, hotel, rich, seinfeld, jason, alexander, glass, akhnaten

Den amerikanske tonsättaren Philip Glass har skrivit över 25 operor, mängder av film- och teatermusik, orkesterverk, pianomusik med mera. Lyssna på alla avsnitt i Sveriges Radio Play. År 2019 fyllde Philip Glass egen grupp The Philip Glass Ensemble 50 år och detta firades med en internationell jubileumsturné, som bland annat besökte Stockholm och Malmö.Många har säkert hört Philip Glass musik utan att tänka på det. Som till exempel den musik han skrev för succéfilmen ”Timmarna”.På 60-talet samarbetade Philip Glass med Ravi Shankar i Paris. Internationellt uppmärksammad blev han med den banbrytande operan ”Einstein on the Beach”, som han gjorde tillsammans med Robert Wilson.De senaste åren har hans operor ”Satyagraha” och ”Akhnaten” nått en stor publik. Folkoperan och Cirkus Cirkörs uppsättning av den första av dem fick Philip Glass själv uppleva på BAM i New York.– Jag hamnade med Philip bakom scenen och då sa han att han var glad att han fått leva och se den här uppsättningen, berättar tenoren Leif-Aruhn Solén i programmet.Nu är han aktuell med cirkusoperan ”Circus Days and Nights”, skriven direkt för Cirkus Cirkör.Medverkar i programmet gör dirigent Karen Kamensek, Cirkus Cirkörs Tilde Björfors, musikjournalisten Hanna Höglund och givetvis Philip Glass själv.En dokumentär från 2021 av Kerstin Berggren.

Den amerikanske tonsättaren Philip Glass har skrivit över 25 operor, mängder av film- och teatermusik, orkesterverk, pianomusik med mera. Nu är han aktuell med cirkusoperan Circus Days and Nights, skriven direkt för Cirkus Cirkör. År 2019 fyllde Philip Glass egen grupp The Philip Glass Ensemble 50 år och detta firade den i dag 84-årige musiklegendaren och hans grupp med en internationell jubileumsturné, som bland annat besökte Stockholm och Malmö. Många har säkert hört Philip Glass musik utan att tänka på det. Som till exempel den musik han skrev för succéfilmen Timmarna. På 60-talet samarbetade Philip Glass med Ravi Shankar i Paris. Internationellt uppmärksammad blev han med den banbrytande operan Einstein on the Beach, som han gjorde tillsammans med Robert Wilson. De senaste åren har hans operor Satyagraha och Akhnaten nått en stor publik. Folkoperan och Cirkus Cirkörs uppsättning av den första av dem fick Philip Glass själv uppleva på BAM i New York.  Jag hamnade med Philip bakom scenen och då sa han att han var glad att han fått leva och se den här uppsättningen, berättar tenoren Leif-Aruhn Solén i programmet. Operan Akhnaten, som handlar om den egyptiske faraonen, fick global spridning när Metropolitanoperan sände ut föreställningen live på bio. Dirigent var Karen Kamensek, som intervjuas i programmet. Vi får också möta Cirkus Cirkörs Tilde Björfors, musikjournalisten Hanna Höglund och givetvis Philip Glass själv. En dokumentär från 2021 av Kerstin Berggren.

Anna and Krista tackle Philip Glass' opera Akhnaten this week. They rave about the staging, Anna goes Mama Bear over her Large Adult Opera Son and they throw in a bonus opera!

The 14th century B.C.E. pharaoh Akhnaten is remembered for his radical abandonment of the multiple gods of Egypt in favor of just one: the sun god Aten. Akhnaten’s heresy ended with his death when traditional beliefs were quickly reestablished and Akhnaten’s name literally chiseled out of Egyptian history. Sigmund Freud’s “Moses and Monotheism” opined that Moses might have been an Egyptian priest of Akhnaten, and Immanuel Velikovsky, a once-popular but fanciful historian, suggested in his book “Oedipus and Akhnaton,” that a garbled memory of Akhnaten’s reign was the source of the Greek tragedy “Oedipus the King.” The American composer Philip Glass credits both those authors among the inspirations for his opera “Akhnaten,” which premiered on today’s date in 1984 at the Staatstheaer in Stuttgart, Germany. In 1984, the Stuttgart opera was undergoing renovations, so the premiere was moved to a much smaller hall, with a much smaller orchestra pit. Rather than scrimp on other instruments, Philip Glass simply made a virtue of necessity and omitted the entire violin section from his score. The role of Akhnaten is sung by a counter-tenor, whose high voice provides a striking contrast to the a low, dark timbre of the Glass’s violin-less orchestration.

The 14th century B.C.E. pharaoh Akhnaten is remembered for his radical abandonment of the multiple gods of Egypt in favor of just one: the sun god Aten. Akhnaten’s heresy ended with his death when traditional beliefs were quickly reestablished and Akhnaten’s name literally chiseled out of Egyptian history. Sigmund Freud’s “Moses and Monotheism” opined that Moses might have been an Egyptian priest of Akhnaten, and Immanuel Velikovsky, a once-popular but fanciful historian, suggested in his book “Oedipus and Akhnaton,” that a garbled memory of Akhnaten’s reign was the source of the Greek tragedy “Oedipus the King.” The American composer Philip Glass credits both those authors among the inspirations for his opera “Akhnaten,” which premiered on today’s date in 1984 at the Staatstheaer in Stuttgart, Germany. In 1984, the Stuttgart opera was undergoing renovations, so the premiere was moved to a much smaller hall, with a much smaller orchestra pit. Rather than scrimp on other instruments, Philip Glass simply made a virtue of necessity and omitted the entire violin section from his score. The role of Akhnaten is sung by a counter-tenor, whose high voice provides a striking contrast to the a low, dark timbre of the Glass’s violin-less orchestration.

Keturah begins this episode chatting with General Director of Palm Beach Opera and former countertenor, David Walker (https://pbopera.org/about-us-2/general-director/). They discuss the aria Voi Che Udite (Here’s a link of David singing this aria on a set by John Conklin: https://youtu.be/cEQy5sfbs68 ) from Handel and Calzabigi’s Agrippina. They also talk about the pangs of leaving performing, and briefly touch on Akhnaten, Partenope, and The Elephant Man.Keturah’s second interview is with librettist and dramaturge, Kelley Rourke (https://www.kelleyrourke.com/about-1). Kelley is the author of numerous song cycles, operas, and translations, and is also the resident dramaturge at Washington National Opera (https://www.kennedy-center.org/wno/home/) and The Glimmerglass Festival (https://glimmerglass.org/). They discuss how John Conklin (https://en.m.wikipedia.org/wiki/John_Conklin) helped her find her way in the business, what it’s like working as a collaborator, and where the inspiration for her writing comes from.Here’s a link to works by Kelley Rourke: https://www.kelleyrourke.com/projects-1

Juggler Sean Gandini and his partner Kati Ylä-Hokkala have built one of the UK’s most successful contemporary circus companies: Gandini Juggling. Gandini has directed multiple full length circus pieces: Spring, 4x4: Ephemeral Architectures, Sigma and of course Smashed, their Pina Bausch inspired mega-hit that has toured the world. He also has the Olivier Award winning Philip Glass opera Akhnaten under his belt as choreographer and is currently working on LIFE, a new piece with the Cunningham Foundation. But, just to be contrary, we decided to talk about an earlier piece, a darker piece, a less loved piece...CLØWNS & QUEENS premiered in 2013. Right after their hit Smashed. For them, it is a relatively little performed piece; an investigation of the perversity of circus. There is nudity, the threat of violence, actual violence….and some baroque music.Watch a full version of CLØWNS & QUEENS HERE!Direction: Sean Gandini and Kati Ylä-HokkalaDramaturge: John Paul ZaccariniLighting Design: Jean-Ba LaudeCostume Design: Gemma BanksJuggling based on ideas: Sakari MännistöPerformers: Caterina Boschetti, Marinna De Sanctis, Iñaki Fernández Sastre, Sean Gandini, Doreen Großman, Christelle Hersscher, Sakari Männistö, Francesca Mari, Silvia Pavone, Jon Udry, Kati Ylä-Hokkala, Cecilia ZuchettiGandini Juggling WebsiteCLØWNS & QUEENS WebsiteBook referenced in interview:Thomas Wilson's biography of Gandini Juggling: Juggling TrajectoriesAvailable from Gandini Press WebsiteThe last three questions..... PIECE THAT CHANGED EVERYTHINGJuggler Sergei Ignatov’s juggling to ChopinThe work of choreographer Merce Cunningham PIECE THAT DIDN’T LOVE BUT HAS VALUESoviet propaganda art, or other morally didactic work.NOMINATE AN ARTIST FOR US TO CHECK OUTThe work of choreographer Jonathan BurrowsThis season of MOVERS SHAKERS MAKERS has been made possible by grants from the Norfolk Arts Project Fund and using public funding by the National Lottery through Arts Council England.

En este primer episodio del año, sexto episodio de la primera temporada, comenzamos hablando brevemente sobre algunas buenas y no tan buenas noticias de 2020 (2:00). La invitada de este episodio es la Dra. Julieta Fierro Gossman, investigadora del Instituto de Astronomía de la UNAM y experta divulgadora reconocida a nivel nacional e internacional (16:35). Tras los fotones es un proyecto de comunicación de la ciencia del Instituto de Astronomía de la UNAM creado por Gloria Delgado Inglada (@glodeling) y Diego López-Cámara Ramírez (@drpiki1), ambos investigadores del Instituto de Astronomía de la UNAM. Ellos son los presentadores, productores y editores de Tras los Fotones. Nos pueden seguir en Twitter, Facebook e Instagram. Cortinilla: música de Claudio Martínez (@claudifonos) y voz de Mila Molints (@milamolints). Música del episodio: Free Music Archive, Fesliyanstudios, 99 Sound Effects, fragmento de la ópera Akhnaten de Philip Glass

Is Saskatchewan’s Badlands Guardian actually an intelligently carved petroglyph depicting the Black Foot tribe’s ancient alien ancestors / deity’s that returned to the stars thousands of years ago? If so...how did these ancient - commonly thought of as “primitive” - people carve out an entire section of a mountain range that’s almost a kilometer in it’s width, and hundreds of feet in depth, without help from a more advanced species...perhaps...aliens? Does the Badlands Guardian have a celestial connection to the infamous Face on Mars? Is there a link between the pyramids on Mars, the pyramids in Egypt, the pharaoh Akhnaten...and the Badlands Guardian? We don’t know, but our plucky Ancient Astronaut Theorists sure think they do! Let’s prooooooooooooooooooooooooobe into Season 14, Episode 2 of Ancient Aliens: The Badlands Guardian!

"I asked for a sensitive Baritone, and you gave me a Countertenor."Fill up your glasses for Philip Glass' Akhnaten. We are joined by special guest Ben Quam from the podcast Libations for Everyone. We sip on delicious beverages from this week's sponsor Tattersall Distillery and talk about everything from Ancient Egypt to Trance Music. Also, Amanda is still a potty mouth, and Tina still can't say "narrator."

Mon invité est Antoine Robert, le réalisateur de Deux oiseaux un court métrage détonnant comme on en voit peu, à hauteur d'enfant et pour un public adulte comme jeune. Antoine est également illustrateur et CG artist basé à Arles. Le site d'Antoine Robert : http://www.ant-robert.com/ La bande annonce de son film Deux oiseaux : https://www.youtube.com/watch?v=V_fkfVBYQ0c La page VOD de Deux oiseaux : https://vimeo.com/ondemand/deuxoiseaux Son précédent film Le taxidermiste : https://vimeo.com/52068093 Les recommandations d'Antoine : La page Allociné de Calamity, une enfance de Martha Jane Cannary de Rémi Chayé : https://www.allocine.fr/film/fichefilm_gen_cfilm=271607.html La page Allociné de Drunk de Thomas Vinterberg : https://www.allocine.fr/film/fichefilm_gen_cfilm=275050.html La page Allociné de 2001 : l'odyssée de l'espace, le meilleur film de tous les temps (en toute objectivité) : https://www.allocine.fr/film/fichefilm_gen_cfilm=27442.html La page Allociné de Koyaanisqatsi de Godfrey Reggio : https://www.allocine.fr/film/fichefilm_gen_cfilm=33233.html Une émission de France Musique, Musicopolis, qui revient sur la première à Avignon en 1976 de l'opéra Einstein on the beach, musique composée par Philip Glass (il y a aussi une courte biographie du compositeur en vidéo) : https://www.francemusique.fr/emissions/musicopolis/avignon-1976-creation-d-einstein-beach-de-philip-glass-75929 La bande-annonce de l'opéra Satyagraha (joué à l'ENO de Londres en 2018) composé par Philip Glass : https://www.youtube.com/watch?v=RoAN_xDcmmI La bande-annonce de l'opéra Akhnaten (joué au Metropolitan Opera de New York en 2019) composé par Philip Glass : https://www.youtube.com/watch?v=rSn_UAquOfw La page bandcamp des punks Lillois de Jodie Faster : https://jodiefaster.bandcamp.com/ Le site de la maison d'édition Les Requins Marteaux sur lequel on peut trouver le Pinocchio de Winshluss : http://lesrequinsmarteaux.com/livres Format Court : http://www.formatcourt.com/ Pour ne louper aucune pépite ! ► Yodar : yodar.fr/ ► Facebook : www.facebook.com/Y0dar/ ► Instagram : www.instagram.com/y0dar/ ► Twitter : twitter.com/Y0DAR ► Soundcloud : @y0dar Podcast réalisé par Aline Crétinoir

Jennifer Williams interviews countertenor, curator and interdisciplinarian Anthony Roth Costanzo. In addition to appearing with many of the world’s leading houses, including the Metropolitan Opera, Lyric Opera of Chicago, Los Angeles Opera, and Houston Grand Opera, he is also a producer and curator, creating shows for National Sawdust, Opera Philadelphia, Princeton University, and WQXR. His debut album, ARC, on Decca Gold was nominated for a 2019 GRAMMY Award, and he is Musical America’s 2019 vocalist of the year. We discuss a unique dimension of his experience starring in Philip Glass’s Akhnaten; his curatorial vision behind his operatic installation, Glass Handel; and his next ambitious venture. Interview only. Full episode available on Anchor. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Branding and visibility is a matter of being true to yourself – as much so in the art world as it is in the business world. For rising opera star J’nai Bridges, being true to herself means breaking through the stereotypes that pit her race and her craft against each other. J’nai is an American opera singer who is known for her plush-voice mezzo-soprano and has sung in major mezzo-soprano roles, such as Dalila in Samson et Dalila, Carmen and Nefertiti of Akhnaten. Elizabeth Bachman proudly presents her in this episode of The Relationship between Business and Art. Ever wondered what it’s like to be a black opera singer in an industry that is so traditional, it just recently realizing the racism that is embedded in some of its practices? Being a black opera singer itself breaks so many stereotypes and J’nai is certainly a disruptor in that regard.

What happens when a DRAMATIC Soprano, Alexandra Loutsion, and a Mezzo, Annie Rosen, who “will crush your soul” come for a chat? (This is a normal occurrence on Voice with Julia's #TECHNIQUETALKS) Alex sings the nice LADIES like Turandot, Tosca, and Elektra with companies like San Francisco Opera, Canadian Opera Company, and Pittsburgh Opera.  Watch Alex tear it up as Turandot: https://youtu.be/NyM5ExJkU9Q Annie rips up the stage with roles like Adalgisa, Suzuki, and Melisande and at theaters like Lyric Opera of Chicago, Deutsche Opera Berlin, The Metropolitan Opera, and sings some amazing new operas like Akhnaten and Bel Canto. Hear Annie crush your soul: https://youtu.be/2-5AL_4NASk Watch interview on YouTube: https://youtu.be/tuwPL-MdRVs  Voice with Julia's #techniquetalks is where we demystify conversations surrounding vocal technique with

Open, are the double-doors of the horizon. Unlocked, are their bolts. #Akhenaten #AmenhotepIV #LudicrousHustle LIFE-OUT-OF-BALANCE [#XÆA0132] --- Support this podcast: https://anchor.fm/stevenapplegate/support

This episode of Spoleto Backstage showcases a 2012 chamber series program bookended by late Romantic American works. Opening with Arthur Foote’s A Night Piece , the concert also features Joseph Haydn’s Symphony No. 101 in D Major, “The Clock” (arr. Salomon) before concluding with Amy Beach’s Piano Quintet in F-sharp minor, Op. 67. Geoff Nuttall and Bradley Fuller talk about the selections and the backgrounds of those who wrote them ahead of the music itself. Following the concert, Bradley speaks with countertenor Anthony Roth Costanzo about his recent engagements, from performing in the lead role of the Metropolitan Opera’s 2019-20 production of Philip Glass’s opera Akhnaten to keeping busy with a variety of projects which don’t involve performing before a live, in-person audience. Anthony also shares about his beginnings as a singer and how he envisions the future of the countertenor repertoire.

A singer described by Opera News as a “true stage animal,” the OBS ballers go ‘Inside the Huddle’ with American bass-baritone Zachary James to talk about starring in Philip Glass’s ‘Akhnaten’, being a queer villain in Britten’s “Billy Budd”, and a break-through role in “The Addams Family” musical… ‘Spring Training for Your Ears’ continues with Part Two of the team's look at Britten’s comic masterpiece “Albert Herring”... In the ‘Two Minute Drill’… you knew it was coming… The Zoom Opera… www.facebook.com/obschi1 www.operaboxscore.com @operaboxscore

Renowned theatre and opera director Phelim McDermott discusses his journey from Phillip Glass obsessive to collaborating with the man himself, voice and dialect coach Leith McPherson shares more insights into the power of voice, and following the fires in eastern Australia, we ask playwright Campion Decent about the power of verbatim theatre and the impact of his play Embers.

Renowned theatre and opera director Phelim McDermott discusses his journey from Phillip Glass obsessive to collaborating with the man himself, voice and dialect coach Leith McPherson shares more insights into the power of voice, and following the fires in eastern Australia, we ask playwright Campion Decent about the power of verbatim theatre and the impact of his play Embers.

Renowned theatre and opera director Phelim McDermott discusses his journey from Phillip Glass obsessive to collaborating with the man himself, voice and dialect coach Leith McPherson shares more insights into the power of voice, and following the fires in eastern Australia, we ask playwright Campion Decent about the power of verbatim theatre and the impact of his play Embers.

St Germain discusses the spiritual significance of Akhnaten in world history and why the opera is attracting so much world-wide interest today.

Just like your Thanksgiving feast, this episode is JAM-PACKED hunnies! Part I is all about music, opera and of course the AMAs. We catch up on Nyle’s recent trip to see the Queen Mother Lana Del Rey in MUSIC CITY! Also, "Akhnaten" at The Met Opera and Kanye West’s "Nebuchadnezzar" at the Hollywood Bowl. ⠀⠀⠀⠀⠀⠀⠀⠀⠀ In Part II (22:30), we talk all things EMOJI – Which emoji are you?? And why does that guy keep sending you the heart eyes emoji but can’t use real words?? Could an emoji lead to actual dating? Hmmm… These questions and more, as we ponder whether shortcuts to communication in our digital age are deteriorating our beautiful written languages. For WYR fans, stick around (38:55) for at least one question that will make you glad to have your current job, in case you didn’t think that was possible! 🙌 ⠀⠀⠀⠀⠀⠀⠀⠀⠀  👇 If you like this episode, please SUBSCRIBE and SHARE it with someone cool. Thank you!!! ⠀⠀⠀⠀⠀⠀⠀⠀⠀ Social Media Links: Keep In Touch: @keepintouchpodcast Nyle Darling: @nyledarling  Trevor Kuhn: @the_official_trev ⠀⠀⠀⠀⠀⠀⠀⠀⠀ Copyright © 2019  Keep In Touch Podcast

Anthony Roth Costanzo sits down with Jonathan Palmer Lakeland to talk about more than just the fact that they both have three names. They chat about classical music, how and why new listeners can get into it, Akhnaten, and much more.

You may not have heard of the Egyptian king Akhnaten, but the young pharaoh helped shape modern religion as we know it. His revolutionary efforts to shift Egypt away from worshiping many gods to worshiping just one paved the way for monotheism and the major Judeo-Christian faiths. His desire to remake the world is the subject of Philip Glass's entrancing opera. In this episode, host Rhiannon Giddens and her guests reflect on Akhnaten’s "Hymn to the Sun," an aria drawn from an ancient text of devotion. Akhnaten expresses his adoration of the sun and asserts himself as a prophet – a vision of his own power that eventually led to his downfall. At the end of the show, you'll hear countertenor Anthony Roth Costanzo sing the complete “Hymn to the Sun” from the Metropolitan Opera stage. The Guests Countertenor Anthony Roth Costanzo previously sang the role of Akhnaten at English National Opera in London and LA Opera, and he now stars as the titular pharaoh at the Metropolitan Opera. Even though he has lived with the character for nearly four years, he still hasn't decided whether he sees Akhnaten as a visionary or cult leader. But that doesn't stop him from wearing an Eye of Horus necklace.   Kara Cooney is a professor of Egyptian Art and Architecture at UCLA who spent years as an archaeologist in Egypt. At dig sites and in her research, Cooney has been able to uncover some moments of Akhnaten’s life, which still largely remains a mystery. Even she doesn’t quite understand her journey into Egyptology, she has always understood the world best through the lens of antiquity.  Karen Kamensek is conducting Akhnaten at the Metropolitan Opera. A self-proclaimed Glass groupie, she is our first guest who's been mentored by a show's original composer. The world-renowned conductor pays it forward by leading a number of youth orchestras.  John Schaefer is the host of the WNYC radio program New Sounds. For more than 30 years, he has promoted the work of contemporary composers and performers. In 1984, he jumped at the chance to premiere Akhnaten on the radio.  Special appearance by Rev. Paula Stone Williams, a pastor and LGBTQ advocate. As a transgender woman, Williams uses her experiences to foster more compassion in the world.

J'Nai Bridges sits down for an informal discussion after her first day working at the Met on Akhnaten. We talk modern singer life, the legacy of Jessye Norman, and long-needed changes in the opera industry. A bit more casual than the usual episode, J'Nai and Daniel hang out outside the Met for a real chat about where she's been, how she got here, and where we're all going. Special Guest: J'Nai Bridges.

It's our inaugural episode! In our first episode we set our format sharing stories from events in our lives from the week and touching on some of the LGBTQIA news from the week as well. This week Casey shares about some remarkable encounters with a couple of Chicagoans who left him feeling warm and fuzzy about the state of humanity in our fantastic city. Mark tells about his quick trip to NYC for 3 shows in 24 hours. And Popeye's Chicken Sandwich is back! We have a live taste test while we paint the trash that is a certain well-known national chicken sandwich chain. We finish up discussing the unknown event that was Straight Pride Dallas.

Thirty-three centuries ago, a doomed visionary Pharaoh tried to remake the world in honor of his god. Thirty-five years ago, a brilliant composer created a powerful opera that explored the wonder and the tragedy of that ancient dreamer. Philip Glass's Akhnaten combines modern music with a libretto in ancient languages to break through the centuries and tell a timeless tale. Hosted by Pat and guest co-host Grant.

Estrenos: El irlandés, Polvo, Sr. Link, Al ritmo del corazón, Doctor sueño, Entrevistas: Festival Internacional Cine de Autor, Padre Joel Ascencio Festival Cine con Valores. Boletos Ópera Akhnaten.

Following our last episode all about Philip Glass, this episode goes deep into the third opera in his portrait trilogy: AKHNATEN! We talk about the music, the inspiration and creative process, the source material, the text of the libretto, the real historical Akhnaten (including theories that his whole family were aliens) and his very complicated family (hint: recent DNA testing reveals that the family tree is REALLY MESSY, involving Nefertiti, King Tut, half-sisters that are also wives, aunts that are also mothers, husbands that are also siblings of some kind, daughters that are also wives, etc. etc. etc.), and all kinds of other interesting stuff!

A young pharaoh transforms ancient Egypt with his revolutionary religious ideas—a tale made modern through Philip Glass's mesmerizing and distinctive musical style. Learn more about Akhnaten with our In Focus podcast, hosted by author, Met radio commentator, and staff writer William Berger.

For the first time in Met Opera History, Philip Glass’s AKHNATEN is coming to the stage! This much anticipated Met premiere is a deep meditation on the driving force of religion, and a powerful reminder of the fine line between revolution and destruction. Performances star countertenor Anthony Roth Costanzo in the title role, J’Nai Bridges making her Met debut as his wife, Nefertiti, and conductor Karen Kamensek making her Met debut at the podium. In this episode of The Metropolitan Opera Guild Podcast, lecturer W. Anthony Sheppard discusses the story of the pharaoh who transformed ancient Egypt.

Interlude: An Interview with AkhnatenIn 1983, Philip Glass debuted his opera Akhnaten, a bold musical exploration of the pharaoh, his reign and his legacy. Now, Akhnaten returns in a new run. Akhnaten by The Metropolitan Opera, in New York, is running from November 8th to December 7th, 2019 and will be broadcast worldwide in cinemas; find tickets here See acast.com/privacy for privacy and opt-out information.

In this very special episode, recorded live from the Metropolitan Opera, Susan and Laura each share opera-inspired sparks of creativity, The Mad King Ludwig of Bavaria, and the intense significance of the opera Brundibar. They also engage in conversation with countertenor, actor, producer, star of the MET Opera's production of Akhnaten, and absolute vocal superhero, Anthony Roth Costanzo. Anthony shares his personal opera origin story, spills all the details about Akhnaten and his mission to bring new audiences to the art form.

Making her Metropolitan Opera conducting debut this season, Karen Kamensek sits down to discuss her road to conducting, her collaboration with Philip Glass, and a largely European career. She shares her insights on Glass' music as well as a fresh perspective on life on the podium. For more info, visit her at www.karenkamensek.com Special Guest: Karen Kamensek, Conductor.

“I think I've learned to not take things so personally through this piece of music.” In this episode, mezzo-soprano J'Nai Bridges discusses the song “When I am laid in earth”, also known as “Dido's Lament”. It's a stunning aria from Henry Purcell's opera Dido and Aeneas in which Dido laments over her broken heart after her lover, the Trojan war hero Aeneas, abandons her. The song gave Bridges insight into the nature of memory and respect that she's taken to heart, and illustrates one of the many powerful lessons opera can teach us all. Subscribe wherever you get your podcasts to receive a new episode every day or delve deeper into our companion playlist. J'Nai Bridges is a mezzo-soprano. She'll be appearing this season with the Metropolitan Opera as Nefertiti in Philip Glass's Akhnaten. Did you like the track J'Nai chose? Listen to the music in full: "When I am laid in earth" by Henry Purcell

Philip Glass - Akhnaten Composed in 1983 Premiere : March 24, 1984 Staatstheater Stuttgart Album release: 1987 --Act I: Year 1 Of Akhnaten's Reign. Thebes 00:00 - Prelude: Refrain, Verse 1, Verse 2 10:44 - Prelude: Verse 3 11:24 - Scene 1: Funeral Of Amenhotep III 20:24 - Scene 2: The Coronation Of Akhnaten 37:39 - Scene 3: The Window Of Appearances Act II: Year 5 To 15. Thebes And Akhenaten 46:51 - Scene 1: The Temple 59:38 - Scene 2: Akhnaten & Nefertiti 1:09:49 - Scene 3: The City. Dance (Beginning) 1:12:20 - Scene 3: The City. Dance (Conclusion) 1:17:30 - Scene 4: Hymn Act III: Year 17 And The Present. Akhenaten 1:31:13 - Scene 1: The Family 1:42:49 - Scene 2: Attack & Fall 1:50:32 - Scene 3: The Ruins 1:58:01 - Scene 4: Epilogue Music by Philip Glass Libretto by Philip Glass The Stuttgart State Opera, Orchestra & Chorus Dennis Russell Davies, Conductor

On December 2, 2018, The Kennedy Center held its 41st annual national celebration of the arts — The Kennedy Center Honors. Celebrated composer Philip Glass was one of the honorees. In honor of Philip Glass' recognition by The Kennedy Center and the broadcast of the awards last week (December 26), this "From the Vault" episode features LA Opera's Artist-in-Residence Matthew Aucoin in conversation with Glass prior to the November 17, 2016 performance of his opera “Akhnaten”, which was conducted by Aucoin.

Countertenor Anthony Roth Costanzo speaking about his music and recent Decca CD titled, "ARC", nominated for a Classical Grammy in the category of Solo Vocal Album. He will be featured in the premiere at the Metropolitan Opera in 2019 in "Akhnaten" by Philip Glass. www.anthonyrothcostanzo/

In this pre-show lecture, Matthew Aucoin and Philip Glass discuss "Akhnaten."

In this pre-show talk, artist-in-residence discusses "Akhnaten."

Anthony Roth Costanzo is my guest this week. He is currently starring in the title role of the Philip Glass opera, Akhnaten at LA Opera. Today is our final performance, but the chance to sit with this fine gentleman arose, so I grabbed it. He's insightful, kind, funny and very candid. I've really enjoyed listening to him perform this most challenging role, and I'm glad to have gained a bit of insight into what makes this fellow tick. I hope you enjoy the chat as much as I did- cheers! See acast.com/privacy for privacy and opt-out information.

Born in 1990, Matthew Auc.... BORN IN 1990?? Yup. Welp, despite my crushing feeling of inadequacy and confusion about my life choices, I'm super-excited to have 26-year-old conductor, composer, pianist, and poet, Matthew Aucoin as my guest this week. He's made his mainstage conducting debut with us, at the LA Opera, in our current production of Akhnaten, and he's all of the things I've mentioned above, but with a large helping of modesty, graciousness, and collegiality. I hope you enjoy our chat- thanks for listening! See acast.com/privacy for privacy and opt-out information.

Episode 42: Phelim McDermottPhelim is the director of our current production of Akhnaten at LA Opera. I love this show. I also love the passion, conviction, and freedom that Phelim has given us to help deliver a truly powerful emotional message to our audience. Phelim also operates an experimental theater company called, Improbable- look him up at www.improbable.co.uk. Thanks for listening, and I hope you enjoy our chat as much as I did! See acast.com/privacy for privacy and opt-out information.

World-renowned juggler, Sean Gandini joins me today, and I couldn't be more thrilled. We all juggle in our current (and magnificent) production of Akhnaten by Philip Glass, and Sean and his troupe are leading us in our efforts. It's a first for all of us, and it's thrilling. Sean's background is fascinating, he's kind, thoughtful and terrifically talented. I only wish our chat could have been longer- I'm sure you'll agree. Enjoy!PS- check out his fascinating work at: www.gandinijuggling.com See acast.com/privacy for privacy and opt-out information.

Host Brian Lauritzen talks to LA Opera artist-in-residence Matthew Aucoin about conducting "Akhnaten."

Música Prestada: Akhnaten de P. Glass, con Miguel Rodríguez

Música Prestada: Akhnaten de P. Glass, con Miguel Rodríguez

2015/16 Season: Philip Glass's Akhnaten - Pre performance talk by English National Opera

Shalom Goldman, Professor of Religious Studies and Middle Eastern Studies and Richard Riddell, Professor of Theater Studies, Vice President and University Secretary, Duke University. Akhnaten, the ancient Egyptian ‘rebel pharaoh,’ husband of Nefertiti and probable father of King Tutankhamen, has found immortality through art. This year, Philip Glass’s American opera Akhnaten, co-written with Shalom Goldman, is being performed in Germany, Belgium, and Australia. In the 30 years since its composition, “Akhnaten” has been performed throughout the world to great acclaim in many different productions. In this presentation Shalom Goldman will describe the research and creative processes behind this modern classic. Unique among modern operas Akhanten is sung in ancient Near Eastern languages—ancient Egyptian , Akkadian , and biblical Hebrew. Presented by the Duke Middle East Studies Center, Duke Center for Jewish Studies

Architect and Designer Michael Graves, novelist Michael Dahlie and Philip Glass' opera Akhnaten.