Podcast appearances and mentions of albert herring

Albert Herring, Op. 39 es una ópera cómica de de cámara en tres actos con música de Benjamin Britten y libreto en inglés de Eric Crozier, que a su vez estaba basado en un relato corto de Guy de Maupassant, Le rosier de Madame Husson, pero se traspuso enteramente a un ambiente inglés.

For An Englishman Downunder , Fiona Watson interviews Ballarat based Tenor Jason Wasley, a principle performer for the Enduring Classics concert 'A touch of Spring. Held at Ballarat Anglican Catherdal, 2:30pm on Saturday 9 September. Australian tenor Jason Wasley received a scholarship in 1991 to attend the Victorian College of the Arts Opera Studio in Melbourne.  In 1993, Jason won the Herald-Sun Aria, which enabled him to further his studies in Europe.  The following year he represented Australia in the finals of the Placido Domingo World Operalia Competition in Vienna.  Jason then worked as an apprentice soloist with the Victorian State Opera, undertaking the roles of Sciarrone and The Gaoler in Tosca, Juan in Don Quichotte, Tarquinius in The Rape of Lucretia and Robin Oakapple in Ruddigore. After study at Bertrand Russell Institute of Languages in Italy, Jason moved to London where he was accepted into the National Opera Studio. There, he studied and performed in the roles of Figaro in The Barber of Seville, Silvio in Pagliacci, the title role in Billy Budd, Prince Tarquinius in The Rape of Lucretia, Sid in Albert Herring, Count Almaviva in The Marriage of Figaro, the title role in Eugene Onegin, Schaunard in La bohème and Belcore in L'Elisir d'Amore.  He worked for the Glyndebourne Festival and Touring opera companies performing in the chorus and covering the roles of the Second Prisoner in Fidelio, Patrocle in Iphigénie en Aulide, Morales in Carmen, the title roles in Eugene Onegin, Le Nozze di Figaro and Don Giovanni.  Jason has also worked with the Welsh National Opera's education programme, which included performing Don Giovanni and Escamillio from Carmen. He sang the Boatswain in H.M.S. Pinafore for D'Oyly Carte Opera, Figaro in The Barber of Seville for British Youth Opera, Peter in Hansel and Gretel for Clonter Opera and Belcore in L'elisir d'amore for Pegasus Opera Company.  He also sang Kullervo in the British premiere of Aulis Sallinen's Kullervo.  For Melbourne Opera, he has performed Papageno in The Magic Flute and Marullo in Rigoletto. For OzOpera, he sang Marcello in La bohème and Dancairo in Carmen. For Promac Productions he performed the roles of Pooh-Bah in The Mikado, The Pirate King in The Pirates of Penzance and Captain Corcoran in H.M.S. Pinafore.  In 2006, he moved from baritone to tenor and sang the tenor solos in Verdi's Requiem for the Melbourne Chorale, the roles of Don José in Carmen and Cavaradossi in Tosca for Melbourne Opera, the title role in Stravinsky's Oedipus Rex for Victorian Opera and Pinkerton in Madama Butterfly for OzOpera's national tour. Most recently, Jason Wasley has sung Alfredo in Opera Australia's touring production of La traviata, the tenor solos in Beethoven's Symphony No. 9 with Sydney Philharmonia, Florestan in Fidelio, Max in Der Freicschütz and the title role in Rienzi for Melbourne Opera, Verdi's Requiem with Sydney University Chamber Choir and Rodrigo in Otello for State Opera of South Australia. --- Send in a voice message: https://podcasters.spotify.com/pod/show/kevin-harper1/message

Indubtablement, l'ombra del compositor angl

Indubtablement, l'ombra del compositor angl

Stephen Sposito - Director, Albert Herring at Chicago Opera Theater Jerry Nunn - Critic's Choice Awards

Guten morgen, dear Scorekeepers! It's another beautiful Monday in Post-Slap America! Y'all... we tried. I swear we tried. We tried so, so hard not to dip our toes into The Slap Discourse, but after a chat about the grace of soon-to-be-Justice Ketanji Brown Jackson, we just couldn't resist (0:02:40). But the good lord invented timestamps for a reason, so for those of you who just can't, we have the most delightful, insightful and hilarious guest on the show today! Zoie Reams is an incredible young, Black mezzo soprano, Minnesota Opera's first Company Member, and is about to take the stage this May in the title role of our brand new production of Bizet's Carmen, directed by the legendary Denyce Graves (0:40:27). Plus, in honor of Carmen, we thought it would be fun for the four of us to take a look back at 2001's Carmen: A Hip Hopera, a modern-day adaptation, starring our queen... Beyoncé, of course (1:07:53)! And as if that wasn't enough Pure Black Joy, as always, we'll start your week with a little snack for your soul (1:30:46). Let's do it to it, y'all! Hosts: Lee Bynum, Rocky Jones, Paige Reynolds Guest: Zoie Reams Music: https://www.youtube.com/watch?v=ufezE1bq_4U (Minnesota Opera's Albert Herring - "Meet Me at Quarter Past Eight in the Street") Links MNOp's Carmen (https://mnopera.org/season/2021-2022/carmen/ (Website)) Zoie Reams (https://imgartists.com/roster/zoie-reams/ (Website)) (https://www.instagram.com/zoieimani/ (Instagram)) (https://www.facebook.com/mzozoie/ (FB)) New episodes of THE SCORE drop every other Monday. If you like what you hear, please support us and SUBSCRIBE to the show on your favorite podcast app and be sure to SHARE our show with your friends. Also, leaving a 5-star REVIEW on Apple Podcasts is a great way to help get the word out. For more info about the exciting EDI work happening at MN Opera, please visit https://mnopera.org/edi/ (mnopera.org/edi). Email your questions or comments to thescore@mnopera.org

S3 Ep.1 Singer/Songwriter &Teacher Melody Steven's name says it all & How she started “Quarantunes” to heal the World during a pandemic This is a #OneMicNite Live Artist Session! **

The Australian tenor, Gregory Dempsey, was born in Melbourne in1931. He originally trained as a baritone but made his debut as Don Ottavio in Don Giovanni in 1954 with National Opera of Victoria, also appearing as Turiddu in Cavalleria Rusticana and Pedro in d’Albert’s Tiefland. In 1955 he won the £1,000 Lever Award (a commercial radio award) and in 1956 was a grand finalist in the Mobil Quest.When the Elizabethan Trust Opera was formed in 1956 he took part in its season of four operas. The following season, he appeared in their productions of Tosca, La bohème and The Tales of Hoffmann, and in the 1958 season sang principal roles in Carmen, The Barber of Seville and Fidelio. He became a permanent member of the chorus for the Channel 9 television singers. 1960 found him singing Monostatos in The Magic Flute, the First Jew in Salome, Goro in Madama Butterfly and Rinuccio in Gianni Schicchi. During this season, Gregory Dempsey sang a matinee of Goro in Madama Butterfly, followed by Luigi in Il tabarro (replacing another tenor) followed by Rinuccio in Gianni Schicchi. Three roles, quite different roles, in one day!In Perth, he sang in both opera in a double-bill as Mundit – an aborigine – in the 1962 premiere of the Australian opera, Dalgerie and followed with Beppe in Pagliacci after interval. Gregory Dempsey joined Sadler’s Wells Opera in London in 1962 and this was his main UK base for the next fifteen years. His roles there and the Coliseum included Tom Rakewell, Peter Grimes, Jimmy Mahoney, Albert Gregor, Skuratov, Don José, Erik, David, Mime (Das Rhinegold and Siegfried) and the Shepherd in King Roger. He created the role of Boconnion in Richard Rodney Bennet’s The Mines of Sulphur after which one critic wrote “an heroic-villainous part of formidable challenge.” Dempsey appeared as Dionysus in the British premiere of Henze’s The Bassarids and the title role in the first British staging of The Adventures of Mr Brouček. Gregory Dempsey worked frequently with Scottish Opera, in roles including Britten’s Albert Herring, Quint and Lysander, as well as Florestan, Aeneas in The Trojans, David and Števa. Later, with Scottish Opera, he created the role of Bothwell in Musgrave’s Mary, Queen of Scots in 1977. He made his Covent Garden debut in 1972 as Števa, returning as the Drum Major in Wozzeck. In the USA he appeared in San Francisco from 1966, as Albert Gregor and Tom Rakewell.He returned to Sydney to become a member of Opera Australia singing David in Die Meistersinger von Nürnberg, Herman in Queen of Spades, Dimitri in Boris Godunov, Jimmy in The Rise and Fall of the City of Mahagonny, Mime in both Das Rheingold and Siegfried, Trin in La fanciulla del West, Valzacchi in Der Rosenkavalier and Bob Boles in Peter Grimes. With Victoria State Opera he sang Nero in L’incoronazione di Poppea, Il ritorno d’Ulisse in patria, The Magician in The Consul, Monostatos in The Magic Flute, Benoît and Alcindoro in La bohème, Incredible in Andrea Chenier, Prince Populescu in Countess Maritza, Ajax l in La belle Hélène, Jamie in My Fair Lady and Borsa in Rigoletto. With the Adelaide Festival, he was seen as Nero in L’incoronazione di Poppea, Mark in The Midsummer Marriage, Gregor in The Makropulos Case, Zinoviy Borisovich Izmailov in Lady Macbeth of Mtsensk and The Adventures of Mr. Brouček. His clear, perfectly tuned tenor voice was suited to a plethora of different repertoire and styles. From Monteverdi to the most difficult contemporary compositions, Gregory Dempsey made them relevant to every audience. His charm and ever-ready humour made him loved by every colleague.(Text: Brian Castles-Onion)The STAGES podcast is available from Apple podcast, Whooshkaa, Spotify and where you find your favourite podcasts. www.stagespodcast.com.au

Today I am talking to Alexander Simpson and Helen Daniels who are both classical singers and presenters on the podcast “Where's My Freaking Dressing Room?!” In our chat we talk about a variety of topics regarding the impact that the pandemic has had on young singers and how a shift in time management has revolutionised the way in which Alexander and Helen approach their work.British countertenor Alexander Simpson is a versatile young singer who enjoys performing a wide range of repertoire and styles.Recent operatic roles include Nireno Giulio Cesare (English Touring Opera), Cowslip Fairy Queen (Waterperry Opera Festival), Athamas Semele (Royal Academy of Music), Arsace Partenope (Iford Arts Festival), Arcane Teseo (London Handel Festival) and Refugee Flight (Royal Academy Opera).Alexander studied at the Royal Academy of Music where he was awarded a full scholarship and graduated with a DipRAM for an outstanding final recital. He later graduated from Royal Academy Opera where he studied with Michael Chance, Caitlin Hulcup and Anna Tilbrook.In addition to his singing commitments, Alexander has trained to become a Life Coach. He firmly believes that the industry should be made more accessible for all musicians and has set up a new ‘holistic approach' towards singing as a career. His aim is to encourage singers to understand themselves properly as individuals and then apply these discoveries to their career so that they are able to navigate a career that is successful and fulfilling rather than being tossed randomly from one job to another.Together with his friend and colleague Helen Daniels, Alexander has co-created a podcast entitled ‘Where's My Freaking Dressing Room?!' which encourages classical musicians to chat honestly about previous experiences in order to create a community which is more supportive and connected.Helen Daniels is a mezzo-soprano from Coventry, currently studying at Trinity Laban Conservatoire of Music and Dance with Sarah Pring where she is an Eva Malpass scholar. Under Trinity Laban's tuition she has performed in the nationally renowned Huddersfield Contemporary Music Festival and taken part in online masterclasses with Barbara Hannigan, Gidon Saks, Christopher Underwood and Robert Alderson. She is looking forward to playing Rosina, Il barbiere di Siviglia; Nancy, Albert Herring and Ursule, Béatrice et Bénédict in the college's opera scenes showcase later this year.Alongside her studies Helen is a professional ensemble singer and has performed with many celebrated groups including Classical Opera, Philharmonia Voices, The Hanover Band, City Bach Collective and Sansara. In January 2020 Helen founded a chamber female vocal ensemble with harp, Levedy, who won the inaugural Trinity Laban Carne Trust Chamber Music Competition in October 2020.Helen read academic music at Gonville and Caius College, Cambridge, where she sang with Trinity College Choir under the direction of Stephen Layton. Solo performances include Haydn's Nelson Mass, Bach's St John Passion, Handel's Messiah and Vivaldi's Gloria.In summer 2020 Helen partnered with a close friend and colleague, Alexander Simpson, to record and produce a classical music podcast entitled ‘Where's My Freaking Dressing Room?!' The podcast encourages classical musicians to talk openly about their experiences of the industry in order to create a more supportive and interconnected musical community.Instagram: @helendanielsmezzohttps://www.wheresmyfreakingdressingroom.com/https://www.alexandersimpsonlifecoach.com/

"We open on an April day in May of 1900."Contrary to what the title may lead you to believe, this opera has very little to do with fish.

New episode of the ‘Something (rather than nothing)’ podcast with Opera Singer Mackenzie RogersI had a most stimulating conversation with Mackenzie about art’s role in a pandemic, art's role in challenging white supremacy, opera, van Gogh, painting, Cabaret, philosophy and what it feels like to be painted into a painting.Ms. Rogers is a talented actress and performer whose recent credits include Nancy in Albert Herring, Cherubino in Le nozze di Figaro, Belinda in Dido and Aeneas, the Forrester's Wife in The Cunning Little Vixen, Betty in Over Here!, and the Announcer in Gallantry, A Soap Opera. In 2017, she also joined the ensembles of Portland Opera's production of La Bohème and Broadway Rose Theatre's rendition of the popular musical The Addams Family, the latter of which received the Drammy Award for Best Ensemble and the PAMTA Awards for Outstanding Ensemble and Outstanding Revival. 

Oliver goes ‘Inside the Huddle’ with Nicholas Tamagna, the American countertenor who recently triumphed in his debut at the Metropolitan Opera. Tamagna describes going from cover cast to starring alongside Joyce DiDonato to (unrelated) quarantine in Germany… Matt and Ashlee conclude ‘Spring Training for Your Ears’ with Part III of their look at one of Benjamin Britten’s most accessible operas: “Albert Herring”... In the 'Two Minute Drill', has Anna Netrebko’s identity been stolen...? www.facebook.com/obschi1 www.operaboxscore.com @operaboxscore

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

Lidiya Yankovskaya returns! The highly sought after conductor has already had a whirlwind season with world premieres at the Prototype Festival, Minnesota Opera, and with one of our hometown teams, Chicago Opera Theater. Find out how she juggles it all when she goes ‘Inside the Huddle’ with Oliver and Ashlee... It’s ‘Spring Training for Your Ears’. Over the next few weeks, tune up your familiarity with the comic masterpiece “Albert Herring”. With history hurdles and recording reps, get ready to become the point guard for Team Benjamin Britten... And then… in the Two Minute Drill… #MeToo tenor Vittorio Grigolo wants to... caress your ears? www.facebook.com/obschi1 www.operaboxscore.com @operaboxscore

Nyhetssändning från kulturredaktionen P1, med reportage, nyheter och recensioner.

Upstairs at the Gatehouse hosts ‘Shakespeare’s Greatest Hits’ on Sunday afternoon and ‘Albert Herring’ with Hampstead Garden Opera for 10 days from 14th November; The Sam Braysher Quartet play Jazz at The Oxford on Monday evening; Iron Curtain Trilogy, comprised of three separate plays – ‘The Shape of The Table’, ‘Pentecost’ and ‘Dilemma’ – will be at the Cockpit in Gateforth Street from Thursday 13th; Don’t miss the a Ja Ja Festival of 100 Nordic bands at two London venues. Read by: Freddy Chick, Joe Hughes, Marian Larragy and Mel Williams Edited by: Mel Williams & Marian Larragy Shakespeare's Greatest Hits! :: Hampstead Garden Opera :: Albert Herring Cast Jazz at The Oxford :: Sam Braysher Quartet Promo :: Iron Curtain :: Ja Ja Ja Festival :: Back to Camden Commuity Radio :: Follow Camden Community Radio on Twitter :: File Download (5:32 min / 5 MB)

Visiting director Will Kerley discusses upcoming opera Albert Herring, why he's set it in the 1970s and what it has to offer young opera students. First published 3 June 2010.

A guide to Britten's opera Albert Herring featuring the voices of Britten experts Philip Reed and Paul Kildea, and the soprano Dame Josephine Barstow.

Sterling and Stroili vent about irresponsible parents and child care. Michelle Danner, Entrepreneur and Artistic Director for the Edgemar Center for the Arts and Edgemar Theatre Group in Santa Monica, CA is interviewed about the company’s new production of Henrik Ibsen’s classic Ghosts. The Live Arts Calendar highlights LA Opera’s production of Albert Herring at the Dorothy Chandler Pavilion in the Los Angeles Music Center. Sterling’s reviews Bernadette Peters in Concert at the Valley Performing Arts Center on the campus of Cal State University at Northridge. Artistic Director Greg Shane not only discusses his involvement with CRE Outreach and the organization’s Theatre by The Blind arts program, but its current offering of the Steven Dietz comedy/drama Private Eyes. Danner and Shane share embarrassing moments during performance. Sponsored by Breakdown Services (http://www.breakdownexpress.com/)

Sterling and Stroili talk shop with 2012 LA Comedy Award nominee Stephanie Jones (“Funniest Actress in a Comedy”) about her career and her starring role in the hit web TV series Good Job, Thanks! Created and written by Ryan Glasgow, and also nominated for an LA Comedy Award as “Best New Comedy”, Good Job, Thanks! follows showbiz casting diva, Linda Livingston-Black (Jones) as she struggles to maintain her sanity in a job where day-to-day “normal” is anything and everything imaginable. The Live Arts Calendar highlights the LA Opera’s production of Albert Herring at the Los Angeles Music Center’s Dorothy Chandler Pavilion; and Celebrate Dance 2012, an annual, one-night-only dance festival showcasing the work of nine choreographers and seven dance companies at Glendale’s Alex Theatre. Jones shares an embarrassing career moment. Note: Bryonha Parham (currently co-starring in Porgy and Bess on Broadway) was originally set to guest on this edition of State of the Arts. Due to an unexpected conflict, Ms. Parham will be rescheduled for a near future appearance). Sponsored by Breakdown Services (http://www.breakdownexpress.com/)