Podcast appearances and mentions of ana maria martinez

A few weeks ago I had the idea of doing a program devoted to American orchestral song. It did not take me long to realize that once again “American [that is to say, US] Exceptionalism” was distorting my viewpoint, because there is a rich legacy of orchestral song not only in the United States, but also in both Canada and Latin America. Therefore I will concern myself separately with each of these diverse Americas. Today's episode is the first of two that plunges into a repertoire that, with a few exceptions, is, I daresay, virtually unknown to the majority of my audience: Latin American orchestral song. The exception is, of course, Heitor Villa-Lobos, but even his oeuvre reveals hidden riches. Though vocal music was not a focal point of his output, there remain, nonetheless, songs of his which are known throughout the world. I use these, and the semi-classical songs of Mexican Manuel M. Ponce, as a launching pad to this fascinating “dipping of the toes” into a repertoire that fully deserves our attention, and which includes a segment on another Mexican composer Silvestre Revueltas, as performed by a wide array of singers, including Bidú Sayão, Irma González, Ana Maria Martinez, Jennie Tourel, Lourdes Ambriz, Maura Moreira, and Nina Koshetz. We pay special tribute to iconic Brazilian (mezzo-)soprano Maria Lúcia Godoy, who recently died at the age of 100, and whom none other than Sayão claimed as her musical heir. Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly or yearly support at whatever level you can afford.  

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.)

Town Square with Ernie Manouse airs at 3 p.m. CT. Tune in on 88.7FM, listen online or subscribe to the podcast. Join the discussion at 888-486-9677, questions@townsquaretalk.org or @townsquaretalk. In honor of National Hispanic Heritage month, we recognize the ways in which Hispanic Americans have benefitted the country. We're joined by a U.S. Congressman who will share with us his experience as a Hispanic American in politics and his thoughts on the Hispanic American community.  We're also joined by a panel of guests who will educate our listeners on the contributions that Hispanic Americans have provided to the United States, diminish stereotypes, and discuss the influence on American pop culture. For more information on ALMAAHH, Advocates of a Latino Museum of Cultural and Visual Arts & Archive Complex in Houston, Harris County, click here. Guests: Rep. Joaquin Castro S. House of Representatives, District 20 in Texas Ana Maria Martinez Grammy Award Winner International Opera Singer (Soprano) Dr. Daniel Perez Liston Assistant Professor of Finance, Marilyn Davies College of Business, University of Houston-Downtown Dr. Clara Rodriguez Professor and Associate Chair, Department of Sociology & Anthropology, Fordham University at Lincoln Center Town Square with Ernie Manouse is a gathering space for the community to come together and discuss the day's most important and pressing issues. We also offer a free podcast here, on iTunes, and other apps

Neste podcast leio o poema de Álvaro de Campos - heterônimo de Fernando Pessoa - Livro de Versos - Passagem das Horas “Sentir tudo de todas as maneiras” . Fechamento voz da soprano Ana Maria Martinez em Bachianas Brasileiras n• 5 - Heitor Villa-Lobos (1887 - 1959) Regência: Gustavo Dudanel - Orquestra Filarmônica de Berlim - Festival de Waldbuhne 2008

Humanidad Therapy & Education Services is an organization that provides therapeutic services to all in Sonoma County, California, but specializes in culturally appropriate services to the Latinx community. Ana Maria shares with us the unique program called Convivencia that allows individuals not familiar with therapy to learn about themselves through community conversations. Those in Sonoma County can inquire about services by calling 707 525-1515 and to learn more about events visit https://srosahtes.org/ #humanidadtherapy --- Support this podcast: https://anchor.fm/rafael-vazquez7/support

La señorita Martinez nos habla del programa llamado convivencia que es uno de los programas que existe en la organización Humanidad Therapy & Education Services. Convivencia nos educa como comunicar nuestros sentimientos, dolores, enojos en una forma que nos apoya a sanar. Para servicios en el condado de Sonoma puede llamar al 707 525-1515. Para eventos vaya a https://srosahtes.org/ --- Support this podcast: https://anchor.fm/rafael-vazquez7/support

Town Square with Ernie Manouse airs at 3 p.m. CT. Tune in on 88.7FM, listen online or subscribe to the podcast. Join the discussion at 888-486-9677, questions@townsquaretalk.org or @townsquaretalk. First, Ana Maria Martinez, the artistic advisor for the Houston Grand Opera, announces that the theater will release Suite Española: Explorando Iberia on all platforms. Then, Joel Sandel, Actor's Equity Association, brings together nearly 80 local actors to make a Houston thank you video for supporting the performing arts. And Bonnie Tyler is... Read More

As we conclude Hispanic Heritage Month (Sept. 15-Oct. 15), mediator Michael Eshman sits down with Ana Maria Martinez, President and Co-Founder of the Georgia Latino Law Foundation, to discuss efforts to help support and promote Latinx law students in Georgia and ways to increase diversity in the legal community. 

In 2007 Thabo Cecil Makgoba became the youngest Anglican Archbishop of Cape Town.  An activist for human rights from a young age and an important voice in South Africa today. His relationship and the spiritual journey with Mr Nelson Mandela over many years is documented in his book "Faith and Courage, Praying with Nelson Mandela" (Tafelberg)To me, he is a voice of reason and I want to know from him if he had dinner with Madiba tonight, what would he tell him about Covid 19, the world and the human response to the disease. MusicPanus Angelicus - Thomas Edmonds (Timeless Voices)La traviata, Act 1 - Andrea Bocelli, Pretty Yende, Ana Maria Martinez, Bryn Terfel, New York Philharmonic and Alan Gilbert (One night in Central Park)Amazing Grace - Ladysmith Black Mambazo (Journey of Dreams)Alone but Altogether( Feat. Amuta Stone) - Bobi Wine, Robin Auld and Greg Mills (Single)The Day Thou Gavest, Lord, Is Ended - Choir of King's College, Cambridge, Simon Preston & Sir David Willcocks (Love Divine - The Essential Hymn collection)Websites: www.anglicanchurchsa.orgwww.archmakgobadevtrust.co.za

For over two decades soprano Ana Maria Martinez has been featured on LA Opera's stage. Back in the fall, when she was in Los Angeles for “Don Carlo”, Ana Maria and President & CEO Christopher Koelsch sat down for a chat in front of a live audience. Listen in as the two have an open and genuine conversation ranging from her thoughts about her thriving career, advice for young singers, the inspiration and influence her mother and her father gave her, and being the proud mom of a middle schooler.

OBS announcer Norm Woodel joins us live in studio. We’ll talk sports, voiceovers, theater and hell, yeah, we’re gonna talk some opera. Don’t miss what book George asks him to read in his best announcer voice at the end of the show... Also, it’s ‘Monday Evening Quarterback’ with Creative Consultant and co-host Oliver Camacho who has a thirsty, rave review for Tchaikovsky’s ‘Eugene Onegin’ at Lyric Opera of Chicago, in a revival of the 1997 Robert Carsen production starring Lyric’s community ambassador Ana Maria Martinez. Plus, Norm gives you his own reviews of two other Lyric shows... Then, it’s the ‘The Two Minute Drill’: all the opera headlines from the past week that you need to know, and George's hot takes on them... @operaboxscore voxershorts.com

We're halfway into 2014 and opera has already worked its way into three of the year's biggest athletic events. For those keeping score, there was Renée Fleming's pop-tinged version of the national anthem at the Super Bowl; Anna Netrebko's take on the Olympic Anthem during the opening the Sochi Olympics; and on July 11th, two days before the finale of the World Cup, longtime soccer fan Placido Domingo will perform a concert in Rio de Janeiro with soprano Ana Maria Martinez (and pianist Lang Lang). This is reportedly Domingo's sixth World Cup appearance, the first being at the 1990 World Cup in Rome with the Three Tenors (with Jose Carreras and Luciano Pavarotti). Other famous examples in the sporting canon include baritone Robert Merrill's regular anthem performances with the New York Yankees and soprano Montserrat Caballé's gaudy tribute to her hometown at the 1992 Barcelona Olympics. So who gets the medal for best operatic performance in this year's stadium events? And just how did this happen? In this week's podcast we talk with two experts: Anne Midgette, the classical music critic of the Washington Post Joseph Horowitz, a veteran concert programmer and author of 10 books including Classical Music in America: A History of Its Rise and Fall Segment Highlights On the Similarities Between Opera and Sports Fandom: Midgette: I would say opera and sports are a natural pairing. Being an opera fan is very much like being a sports fan: you're looking for the highs and lows, you're rooting for your favorites, you're waiting to see if they're going to trip up. There's a real element of fandom, as everyone who love opera knows.      Anna Netrebko at the Olympics vs. Renee Fleming at the Super Bowl: Horowitz: I was kind of surprised that [Fleming] sang with such exaggerated sincerity. I thought the whole thing was pretentious and over-the-top... I was reminded of seeing Pavarotti at Madison Square Garden. I thought they both sounded a little dutiful and self-conscious. Midgette: I was of two minds. In a way, [Fleming] pulled it off but in a way I do agree that it certainly wasn't her best self. Neither was an example of those singers at their vintage best. They were fine at what they did but neither struck a great blow for classical music.   The impact of the Three Tenors: Midgette: Whatever you thought of the Three Tenors phenomenon, it had a lot of spark and oomph and it was fun and irreverent and a little trashy. That's why the Three Tenors took off the way they did.   On whether televised sporting events can take over the role of promoting opera to the masses: Horowitz: There was a time when NBC and CBS had their own orchestras. NBC had an opera company, very different from what we associate with Great Performances on PBS. It did opera in English, it did adventurous stagings, it commissioned operas. So if you're looking back as far as the '40s and '50s, it's a different world and in many ways, a much more inspiring world for culture. Listen to the full segment above and tell us what you think: What's been the greatest stadium performance by an opera singer? Please leave your comments below.

Sunday’s Super Bowl will feature 55 commercials and chances are, some of them will feature a symphony or an opera aria embedded in the soundtrack. Classical music in advertising goes back decades but its purpose has changed – becoming more self-referential, ironic and often comedic in its use. "Classical music is very serious in its nature and so often the use is polarized,” said Randall Foster, the director of licensing and business development at Naxos, which supplies recordings to advertisers. "Either it’s taken on its face value... or, on the far spectrum, there’s a great irony in placing something very classical and rigid under a very funny storyline.” Foster cites an ad for Herbal Essences shampoo, which premiered during the Grammy Awards telecast. The cheeky spot features a snippet of soprano Ana Maria Martinez singing "Je veux vivre" from Gounod's Romeo and Juliette. A voiceover quotes lines from Shakespeare's play while a male character follows the female protagonist around (and into a shower) with a handheld camera. Advertisers have sought to contrast everyday products with classical music’s "upscale" associations, at least since Kellogg's introduced a Rice Krispies campaign in the 1960s touting "great moments at breakfast” and featuring reworked versions of Pagliacci and Carmen. But as piracy and illegal file-sharing cut into album sales over the last decade, advertising is increasingly viewed as an important revenue stream for musicians and labels. "People are up for it,” said Jerry Krenach, the managing director of global music production at the agency McGarryBowen. “It’s evident too in the way that labels and publishers promote the uses of songs," he said. In 2012, McGarryBowen won the account for United Airlines, which had just finished a merger with Continental. Among the holdovers through the acquisition was United's signature Rhapsody in Blue theme. Krenach and his colleagues wanted to give the piece a reboot, so they commissioned a recording of a new arrangement played by the London Symphony Orchestra. “Part of what I wanted to do was approach it from a cinematic perspective,” said Krenach. “I wanted to get as much as we could out of that piece.” The campaign launched with a 60-second spot called “Orchestra,” featuring a full symphony on the plane, complete with timpani in the business class seats (some commentators noted an irony in this given the well-publicized troubles some musicians have faced carrying their instruments onto planes). Rhapsody in Blue remains under copyright, so United pays a licensing fee to the Gershwin estate (Krenach declined to cite a specific figure, though United’s initial layout in 1987 was $300,000). But much of the classical canon is in the public domain. “If I’m working with someone on a strict budget it tends to help the bottom line to stick with public domain music,” said Foster. “The creative drives everything and if the entire ad is built around modern music, Mozart won’t fit the bill.” For advertisers who shell out $4 million for a 30-second spot during the Super Bowl, licensing fees may not be a major concern. But for Doritos, a classical soundtrack has become a signature of its annual “Crash the Super Bowl” contest. The chip maker invites people to submit 30-second, homemade Doritos television commercials. Two Super Bowl ads will result – one selected by the votes and one by the Doritos marketing team. The winning creator receives $1 million in prize money. Below is one of the five finalists (the rest can be viewed here): Some pieces like Carmen or Beethoven's Fifth Symphony have a timeless appeal. But are there overlooked pieces that advertisers should consider? “If I have to pick anything that I’m just dying to get placed, we release an awful lot of recordings of modern composers,” said Foster. “I would love to see their music utilized in the advertising space. It’s not a win for classical music now; it’s a win for classical music in the future." Below are a couple more examples. The first is a Verizon spot that Krenach helped produce using Philip Glass's score to "The Fog of War." Foster helped secure a performance of Orff's Carmina Burana for this Google Play spot: Listen to the full podcast above and tell us below: what do you think of the use of classical music in commercials?