Podcast appearances and mentions of amanda forsythe

[@ 3 min] Alright, this week, it's Monday Evening Quarterback on the 2025 Boston Early Music Festival, and we'll be joined by Amanda Forsythe with a scoop on the 2027 centerpiece opera! We promise this is the only opera podcast talking Telemann. [@ 21 min] And then...the centenary of Dietrich Fischer Dieskau's birth was last month, and we have a Free Throw from one of his last pupils, Benjamin Appl. Considered to be one of the all-time great Lieder interpreters, WE will consider Dieskau's notable opera roles. [@ 43 min] Plus, in the ‘Two Minute Drill'…a decline in tourism coupled with the rise in deportations may be adversely affecting ticket sales at the Met...but that's not stopping the Laffont competition from scouting in South America. GET YOUR VOICE HEARD operaboxscore.com facebook.com/obschi1 operaboxscore.bsky.social

Interpreten: Amanda Forsythe, Opera Prima, Cristiano ContadinLabel: cpoEAN: 761203561629Die amerikanische Sopranistin Amanda Forsythe haben wir bisher meist zusammen mit Boston early Music Group kennengelernt. Nun ist sie mit dem klein besetzten Ensemble Opera Prima mit Werken von Händel zu erleben und interpretiert diese unheimlich gut und spannend, wie Michael Gmasz findet.Anfang des 18. Jahrhunderts hat Georg Friedrich Händel, alias „Il Sassone“, vier Jahre auf einer Studienreise in Italien verbracht. Neben zwei Opern, Rodrigo (November 1707) in Florenz und Agrippina (Dezember 1709) in Venedig, hat er sich in Sachen Vokalmusik in dieser Zeit vorwiegend mit Kantatenkompositionen beschäftigt, von denen knappe 100 überliefert sind. Zwei davon, Armida abbandonata und Agrippina condotta a morire, sowie Ausschnitte aus dem Oratorium Il Trionfo del tempo e del disinganno hat Amanda Forsythe nun für ihr neues Solo-Album ausgewählt. Opera Prima präsentiert sich dazwischen mit zwei Instrumentalintermezzi, natürlich auch von Händel und, zumindest was die Sinfonia in B-Dur HWV 339 betrifft, auch aus Rom.Amanda Forsythe gestaltet die beiden Solokantaten mit einer berührenden Intensität und Leidenschaft. Das solistisch besetzte Ensemble Opera Prima mit Cristiano Contadin ist ihr dabei eine hervorragende Stütze, ob auf stürmischer See (Armida) oder auf dem Leidensweg zum Tod (Agrippina). Amanda Forsythes Stimme ist enorm wandelbar, wie sie auch bei den ausgewählten Arien aus dem Oratorium Il Trionfo kunstvoll beweist. Halsbrecherische Koloraturen im Duett mit dem Geiger Federico Guglielmo in Un pensiero nemica di pace perlen nur so dahin, als ob es zu den einfachsten Übungen gehören würde, so zu singen. Lascia la spina, später als Lacia ch'io pianga zu einer der berühmtesten Händel Arien überhaupt geworden, ist hier nicht als Klagelied sondern eher auf der flotteren Seite angelegt, wird im Oratorium aber auch vom allegorischen Vergnügen, Piacere, gesungen. Vom leidenden Pianissimo bis zum ausbrechenden Furioso, Amanda Forsythe beherrscht ihr Fach, und bleibt dabei immer klangschön. (mg)

durée : 01:27:21 - En pistes ! du mardi 18 février 2025 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Des Caprices de Paganini tout en virtuosité ce matin par le violoniste François Pineau-Benois mais aussi un peu de tendresse avec la voix de Fatma Saïd dans des lieder. Et aussi Martha Argerich, Le Concert de l'Hostel Dieu ou la soprano Amanda Forsythe !

durée : 01:27:21 - En pistes ! du mardi 18 février 2025 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Des Caprices de Paganini tout en virtuosité ce matin par le violoniste François Pineau-Benois mais aussi un peu de tendresse avec la voix de Fatma Saïd dans des lieder. Et aussi Martha Argerich, Le Concert de l'Hostel Dieu ou la soprano Amanda Forsythe !

durée : 01:28:29 - En pistes ! du vendredi 14 février 2025 - par : Emilie Munera, Rodolphe Bruneau Boulmier - On finit la semaine avec un peu de poésie : Ronsard chanté par Marc Mauillon et Doulce Mémoire, Chopin sous les doigts de Maurizio Pollini ou ces très beaux airs de Telemann enregistrés par la soprano Amanda Forsythe

durée : 01:28:29 - En pistes ! du vendredi 14 février 2025 - par : Emilie Munera, Rodolphe Bruneau Boulmier - On finit la semaine avec un peu de poésie : Ronsard chanté par Marc Mauillon et Doulce Mémoire, Chopin sous les doigts de Maurizio Pollini ou ces très beaux airs de Telemann enregistrés par la soprano Amanda Forsythe

Mozart's miraculous final masterpiece returns to Seattle Opera in February/March 2025. Seattle Opera Dramaturg Jonathan Dean introduces the beloved music of THE MAGIC FLUTE, with musical examples from archival Seattle Opera recordings made in 1999 (Daniel Beckwith conducts Nathan Gunn, Paul Charles Clarke, John Osborne, Philip Skinner, Ana Maria Martinez, and Cyndia Sieden); 2011 (Gary Thor Wedow conducts Doug Jones, Alissa Henderson, Benjamin Richardson, and Casi Goodman); and 2017 (Julia Jones conducts Christina Poulitsi, Amanda Forsythe, Randall Bills, Jacqueline Piccolino, Nian Wang, Jenni Bank, Frederick Ballentine, Jonathan Silvia, John Moore, and Ante Jerkunica.)

01 - V. Bellini, Norma “Svanir le voci... Me protegge”, Franco Corelli, dir. Antonino Votto Teatro Regio di Parma, 29.12.197102 – G. Donizetti, Lucia di Lammermoor “Verranno a te” Joan Sutherland e Alfredo Kraus (Ariel Bybee Alisa) Metropolitan di New York, il 13 novembre 1982. The Metropolitan Opera Orchestra diretta da Richard Bonynge.03 – G. Rossini Otello Recitativo e terzetto - San Carlo 2016 Direttore Gabriele Ferro, Othello - John Osborn, Desdemona - Nino Machaidze, Rodrigo - Dmitry Korchak, Jago - Juan Francisco Gatte.04 - Fidelio – Quartetto Atto I “Mir ist so wunderbar”. Antonio Pappano direttore. Amanda Forsythe, Lise Davidsen, Georg Zeppenfeld and Robin Tritschler perform. Royal Opera House Covent Garden.05 – W. A. Mozart Die Zauberflöte Atto I, Quintetto – “Hm! Hm! Hm! Hm!” • Orchestra di Budapest Failoni Chamber Orchestra, direttore Michael Halasz, Wilfried Gahmlich, Elisabeth Norberg-Schulz, Georg Tichy, Hellen Kwon, Herbert Lippert, Kurt Rydl, Lotte Leitner.06 - Don Giovanni – Sestetto. Edita Gruberova (Donna Anna), Ann Murray (Donna Elvira), Susanne Mentzer (Zerlina), Francisco Araiza (Don Ottavio), Claudio Desderi (Leporello), Natale De Carolis (Masetto) | Teatro alla Scala, 1987 direttore Riccardo Muti.

La conductora presenta de una forma fresca y coloquial historias, anécdotas e interpretaciones de las y los mejores cantantes de ópera nacionales e internacionales. Sus roles, preparación,experiencias, personajes, , etc. Conducido por la Soprano Conny Palacios, Cantante de opera y jazz

DeWayne Trainer, St. Louis Symphony Chorus Member, joins Andy and Sarah to talk about the St. Louis Symphony's presentation of Handel's Messiah, including his first experience with this major work, how the orchestra and chorus work together to produce this beautiful music, what makes the Messiah unique, and what the audience will experience during the presentation of the full Messiah. Learn more and find tickets at slso.org. Handel's Messiah Friday, Dec 2, 2022 ,  7:30PM Saturday, Dec 3, 2022 ,  8:00PM Sunday, Dec 4, 2022 ,  3:00PM Laurence Cummings, conductor  Amanda Forsythe, soprano Key'mon Murrah, countertenor John Matthew Myers, tenor Jonathon Adams, baritone St. Louis Symphony Chorus  GEORGE FRIDERIC HANDEL Messiah  Conductor Laurence Cummings makes his SLSO debut with what he calls “a journey from darkness to light.” Handel's treasured Messiah with the St. Louis Symphony Chorus is a masterwork last performed in December 2018.

La conductora presenta de una forma fresca y coloquial historias, anécdotas e interpretaciones de las y los mejores cantantes de ópera nacionales e internacionales. Sus roles, preparación,experiencias, personajes, , etc. Conducido por la Soprano Conny Palacios, Cantante de opera y jazz

La conductora presenta de una forma fresca y coloquial historias, anécdotas e interpretaciones de las y los mejores cantantes de ópera nacionales e internacionales. Sus roles, preparación,experiencias, personajes, , etc. Conducido por la Soprano Conny Palacios, Cantante de opera y jazz

A bonus episode featuring Amanda Forsythe who went 'Inside the Huddle' with Oliver to discuss holding an audience’s attention during a set change, singing super fast coloratura, and favoring being an entertainer over being historically accurate. This interview originally aired on WFMT 98.7 in Chicago. Playlist George Frideric Handel: Almira, HWV 1 Act II, "Der Himmel wird straffen dein falsches Gemüht" Act III, "Quillt, ihr überhäuften Zähren" Boston Early Music Festival Orchestra Paul O'Dette & Stephen Stubbs, directors from Boston Early Music Festival's complete recording of Almira CPO 555205-2 Agostino Steffani: "Occhi belli, non più" with Colin Balzer, tenor Boston Early Music Festival Chamber Ensemble Paul O'Dette & Stephen Stubbs, directors from Boston Early Music Festival's Agostino Steffani: Duets of Love and Passion CPO 555135-2 Johann Gottlieb Graun: "O Dio, Fileno" Opera Prima Cristiano Contadin, viola da gamba and direction from Opera Prima's J. G. Graun: Cantatas & Viola da Gamba Concerto CPO 555 284-2 Handel: Giulio Cesare Act III, "Da tempeste" Apollo's Fire Jeannette Sorrell, director from The Power of Love: Arias from Handel Operas Avie AV-2350 amandaforsythe.com operaboxscore.com facebook.com/obschi1 @operaboxscore IG operaboxscore

La conductora presenta de una forma fresca y coloquial historias, anécdotas e interpretaciones de las y los mejores cantantes de ópera nacionales e internacionales. Sus roles, preparación,experiencias, personajes, , etc. Conducido por la Soprano Conny Palacios, Cantante de opera y jazz

Kate Molleson heads down to Covent Garden where rehearsals are under way for a new production of Beethoven's Fidelio at the Royal Opera House. She speaks to conductor Sir Antonio Pappano, director Tobias Kratzer and soprano Amanda Forsythe, who sings Marzelline. Fidelio is sometimes considered a problem opera, with its mix of comic and serious, but Kratzer emphasises the deep themes of political revolution and unjust imprisonment, while for Pappano, Beethoven's score opened a new world for German opera, not least for Wagner. Kate also talks to Marta Gardolinska, Young Conductor in Association at the Bournemouth Symphony Orchestra, about the challenges of forging a career as a conductor, and about her love of Polish music. And Music Matters joins the composer Valgeir Sigurdsson and director Stewart Laing as they discuss We Are In Time, a new music-theatre piece for the Scottish Ensemble about a heart transplant. It's a profound exploration of the emotional and scientific aspects of this most risky operation, with the ensemble's string players also taking on dramatic roles and singing. Kate also investigates the effectiveness of mood-based music playlists, with James Foley from Spotify and Hugo Shirley from classical streaming site Idagio - and gets a concert programmer's point of view from Helen Wallace, programme director of King's Place in London. Are mood lists a gateway to the treasures of classical music, or just dumbing down the art form?

Un noir intenso e amaro.Come ci è arrivata lì Renate?Perché si trova seduta in punta di sedia in quel grigio corridoio?Chi è quell’uomo davanti a lei?Perché quella musica ossessiva le rimbalza continuamente nella testa?Dov’è Hermann?Musiche:Antonio Vivaldi - Nulla in mundo pax sincera RV 630 - Amanda Forsythe (voce) A Far Cry accompagmamentoAkash Ghandi - Eyes of GloryAudionautix - Begining

Novedades discográficas: Las últimas grabaciones de Philippe Jaroussky. HAENDEL: Arias y escenas de “Imeneo”, “Riccardo I”, “Siroe”, “Serse”, “Radamisto”, “Flavio”, “Amadigi di Gaula”, “Tolomeo”, “Giustino”, “Ezio” y “Flavio”. Philippe Jaroussky (contratenor y director). Ensemble Artaserse. GLUCK: “Orfeo ed Euridice” (Selección). Philippe Jaroussky (contratenor), Amanda Forsythe (soprano). Coro de la RTS. I Barocchisti. Director: Diego Fasolis. Escuchar audio

Nov. 19, 2015. Cleveland ensemble Apollo's Fire showcases "The Power of Love" in a concert of operatic and instrumental music of Handel and Vivaldi. Under the direction of Jeannette Sorrell, soprano Amanda Forsythe joins the ensemble in a rich garden of musical flowers, culminating in Sorrell's own arrangement of Vivaldi's "La Folia." For more information, visit http://www.loc.gov/today/cyberlc/feature_wdesc.php?rec=7269

Work by Handel performed by A Far Cry with Amanda Forsythe, soprano on November 16, 2014 and work by Beethoven performed by Borromeo String Quartet on October 24, 2010.Handel: Armida abbandonata, HWV 105Beethoven: Quartet No. 11 in F minor, Op. 95

Works for string orchestra and voice by Meder and Vivaldi performed by A Far Cry and Amanda Forsythe, soprano on November 16, 2014.Meder: Sonata di Battaglia from Die bestandige ArgeniaVivaldi: Sonata a tre "La Folia" Op. 1 No. 12Vivaldi: Nulla in mundo pax sincera, RV 630On this podcast, we feature three pieces from A Far Cry’s recent program of Baroque works, titled “Obsession.” Each of the works is bursting with relentless passion, though it is directed at very different subjects, for very different reasons.In the first piece, Johann Meder’s Sonata di Battaglia, that alternates between aggressive, military-like marches and tender, reflective passages, perhaps depicting the characters’ mixed emotions at setting off for the battlefield.Next comes Vivaldi’s variations on the famous Spanish theme “La Folia,” a tune that was a common test of a composer’s mettle. The piece gets wilder as it progresses, demanding ever more virtuosic playing from the featured violinists.We close out the podcast with a piece featuring A Far Cry’s special guest for this concert, soprano Amanda Forsythe, in another Vivaldi work—his motet Nulla in mundo pax sincera. An ode to the bliss of heaven, the piece scorns the pains and empty pleasures of earth. Forsythe tackles the dazzling vocal passagework with delicious enthusiasm, and A Far Cry is with her every step of the way.