Podcast appearances and mentions of Anthony Roth Costanzo

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.

Opera Philadelphia announces on our show its new season that seeks to broaden the genre of opera. Host Trenae Nuri talks with Anthony Roth Costanzo, general director and president of Opera Philadelphia, about the new shows and the extraordinary success of its Pick Your Price ticketing model – or what many now know as the $11 (!) opera tickets.  Learn more about this season's programming here.  Find more great deals on events – and get you fill of Philly news – in our newsletter: Hey Philly Love the opera? Call or text us: 215-259-8170 We're also on Instagram: @citycastphilly Learn more about the sponsors of this episode: Live Supply  Advertise on the podcast or in the newsletter: citycast.fm/advertise Learn more about your ad choices. Visit megaphone.fm/adchoices

A report from Carnegie Hall's SongStudio 2025: Bryn Terfel, Anthony Roth Costanzo, Hartmut Holl and Renee Fleming.

Alright, this week…It's the OBS year in review! From Beyoncé showing off her Italian Baroque chops to Arts Council England continuing to be the enemy of opera, to friend of the show Anthony Roth Costanzo being tapped as Opera Philadelphia's new GD, to other friend of the show Benjamin Bernheim getting the ultimate OBS bump, 2024 certainly was…something. The team breaks it down for you… GET YOUR VOICE HEARD operaboxscore.com facebook.com/obschi1 @operaboxscore IG operaboxscore

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[@ 4 min] We go ‘Inside the Huddle' with the newly-minted general director of Opera Philadelphia: it's the return of Friend of the Show Anthony Roth Costanzo, reaping the benefits of the OBS bump... [@ 27 min] We dip into the ‘Listener Mailbag' on your reactions to our recent interview with Extinction Rebellion and the results of our Sweet Sixteen Schools of Singing showdown... [@ 32 min] In the ‘Two Minute Drill', Friend of the Show Huw Montague Rendall will sing Billy Budd in Vienna. If you've ever wanted to meet Oliver Camacho in person, he will be sleeping outside the Staatsoper for the entire run... GET YOUR VOICE HEARD operaboxscore.com facebook.com/obschi1 @operaboxscore IG operaboxscore

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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

Grammy Award-winning American countertenor, actor, and producer Anthony Roth Costanzo has enthralled audiences with his artistry in the greatest opera houses worldwide. He talks about his distinct, commanding, and dramatic voice, performing naked at the Metropolitan Opera, and the importance of engaging new audiences. Anthony recalls his theatrical childhood, how he was "bit by the opera bug" performing onstage with Pavarotti, and the elaborate thesis he co-wrote and performed while a student at Princeton.Check out Anthony Roth Costanzo on Facebook, Instagram, Twitter, YouTube, Apple Music, Spotify, or the web.Follow Speaking Soundly on Instagram.Follow David on Instagram.You can find out more about Artful Narratives Media on Instagram and the web.The Speaking Soundly theme song is composed by Joseph Saba/Stewart Winter and used by permission of Videohelper.Speaking Soundly was co-created by David Krauss and Jessica Handelman. This interview has been edited and condensed to fit the time format.Episode copyright © 2023 Artful Narratives Media. Hosted on Acast. See acast.com/privacy for more information.

I love the energy that Anthony brings to this interview. We talk about his days as a backup singer for Michael Jackson, his critically acclaimed show with Justin Vivian Bond, and he even sings a bit of the Gershwin brothers' “The Man I Love”. Not only am I a huge fan of Anthony, but he gives a great interview, here in the Front Row.Anthony Roth Costanzo is a grammy award winning countertenor who has led opera companies around the world. He has performed on Broadway, done backup for Michael Jackson, and performed alongside Luciano Pavarotti. Anthony is a graduate of Princeton, where he returns regularly to teach, as well as the Manhattan School of Music. He is a champion of new works and has collaborated with countless artists, most recently on the show “Only an Octave Apart” with NYC cabaret legend Justin Vivian Bond. Host: James Whiteside @jamesbwhitesideGuest: Anthony Roth Costanzo @arcostanzoProduced by: RedCircle @getredcircleEdited by: Nate Gwatney @nateleegArt by: Javier Rivets @rivets_artTheme: "A-Flat" by Black Violin @blackviolinAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

The American Modern Opera Company (AMOC) with The Cathedral of St. John the Divine presents John Adams' El Niño: Nativity Reconsidered, concept by Julia Bullock, for a one night only engagement on December 21, 2022. Our guest is renowned countertenor and 2022 GRAMMY winner Anthony Roth Costanzo, for the backstory on this operatic reimagining of the Nativity story. For more, visit runningamoc.org

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.

In his debut solo album, star countertenor Anthony Roth Costanzo pairs two iconic composers: George Frederic Handel and Philip Glass. While the two may seem at opposite ends of the musical spectrum, Costanzo draws fascinating parallels between Handel and Glass and ties it all together in this wonderful disc – which he joins us to preview.

This episode is also available as a blog post: https://thecitylife.org/2022/05/19/anthony-roth-costanzo-to-be-honored-at-new-york-historical-societys-annual-history-makers-gala-on-october-6-2022/ --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/citylifeorg/message Support this podcast: https://anchor.fm/citylifeorg/support

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."

The multi-talented performer Anthony Roth Costanzo is a young countertenor whose projects include operas, recitals, films, and Broadway. The New York Times called him "Vocally brilliant and dramatically fearless." Suzanne spoke with the remarkable, Grammy-winning musician about his multi-faceted passions and interests.

Join us as we head to NYC to talk with the amazingly multi-talented and inspirational countertenor, Anthony Roth Costanzo, about life lessons, finding your inspiration as well as your authentic self and how he learns new roles and music…oh, and how to own being naked on stage! https://anthonyrothcostanzo.com/ https://www.instagram.com/arcostanzo/ https://www.bloomberg.com/news/articles/2019-11-05/anthony-roth-costanzo-s-epulse-workout-regimen-to-perform-naked https://classical.centerstagestore.com/products/anthony-roth-costanzo-justin-vivian-bond-only-an-octave-apart-cd www.screamingdivas.com  

This week Ash + Avi had the honour to chat with Anthony Roth Costanzo. Anthony Roth Costanzo is the worlds leading countertenor. He has been on some kind of stage for most of his life and has performed with the likes of Pavarotti and... Michael Jackson! ARC is also now for his critically acclaimed performance of Philip Glass' Akhenaten, which he originated and will be return to this year. He's also a Grammy award nominee for he solo album ARC. Anthony is such an inspiration for his work on and off stage. We hope you enjoy getting to know Anthony and all the amazing things he brings to the world. Including his newest album, “Only an Octave Apart” with Mx Justin Vivian Bond. This months Composer of the Month is Joanna Ward. Her piece this week is called "Two Greenhouses", enjoy! This week Avi brings you a short introduction to composer Phillip Glass in our new segment Knowing it All. We hope you enjoy, Love, Ash + Avi xxx Anthony Roth Costanzo Links: Website | Instagram Joanna Links: Website | Instagram Support us: www.patreon.com/aaopera Our links: Website | Instagram --- Support this podcast: https://anchor.fm/aa-opera/support

ah mes amis! gracias por venir a sentaros en la butaca barata, tu podcast sobre ópera sin ranciedad

Celebrated countertenor Anthony Roth Costanzo will channel Dracula and Dionysus when he makes his Santa Fe Opera debut this season in the world premiere of The Lord of Cries. Host (and uber fan-girl) Jane Trembley chats with Anthony about what it's like having a lead role crafted especially for him by composer John Corigliano, with libretto by Mark Adamo. The pair also discuss why this heart-stopping production is the perfect opera with which to entice audiences back to the Crosby Theatre. For those scratching their heads at the term countertenor, you know it when you hear it - and you've heard it. Think Prince, the BeeGees, and even Justin Timberlake “just done in a more full-throated way,” Anthony explains. He traces the style's origins back to the castrati popular in 16th-century opera. Those performers were widely revered as the rockstars of their time. The vocal range of countertenors is our modern equivalent, minus the castration, of course. Their high-voltage sound lends itself well to characters who occupy a more mysterious realm. “Contained within the countertenor's voice are all of these questions of, really, identity as it relates to gender, as it relates to sexuality,” says Anthony, adding, “now we live in a time when everyone is thinking in a more open-minded way.” The Lord of Cries takes full advantage of Anthony's dynamic talents. John Corigliano, whom Anthony has known for 20 years, wrote his first opera, The Ghost of Versailles, in 1991. He hadn't written a second opera, until now. The piece poses complex questions about the human condition against an unsettling, ethereal backdrop. It's a thrilling and terrifying space to play in as there's no precedent, no previous productions from which Anthony might draw insight. “It's like having a suit that is tailor-made for your own body.”  As for making his debut on the legendary desert stage in the lead role of a new work, Anthony says, “Santa Fe has been at the forefront of bringing American opera to fruition, you know, new operas, new composers, and making it happen, and that's been so thrilling.”  *** Destination Santa Fe Opera is a Santa Fe Opera podcast, produced and edited by Andrea Klunder at The Creative Impostor Studios. Mixed by: Edwin R. Ruiz Hosted by: Jane Trembley Featuring: Anthony Roth Costanzo, American Countertenor *** Learn more about the Santa Fe Opera and plan your visit at http://www.santafeopera.org. We'd love for you to join us on Instagram, Twitter, Facebook, and TikTok @santafeopera. 

[@ 2 min] This week… The OBS Hall of Fame is back, but this time it’s the Hall of Shame. Weston and Matt induct a singer who’s one of the greatest of all time. But can a neutered goat still be called a G.O.A.T.? [@ 12 min] But first… With the Chiefs and Bucs set to collide in Super Bowl LV, the OBS bruisers tackle the Big Game through opera glasses, and offer a few betting tips... [@ 48 min] Plus, in the ‘Two Minute Drill’... As proof that the OBS bump really works, Friends of the Show Brenda Rae and Anthony Roth Costanzo have won this year’s Beverly Sills Artist Award... operaboxscore.com dallasopera.org/tdo_network_show/opera-box-score facebook.com/obschi1 @operaboxscore IG operaboxscore

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

Maren finishes the story of Seduction's Servant, which she wrote during a production of Mozart's Marriage of Figaro. She also talks a bit about how she got into opera, and how COVID-19 has affected artists across the board.Follow Maren on Instagram: @supermarenFacebook: https://facebook.com/maren.montalbanoSign up for the Bodice Ripper Project newsletter and get exclusive behind-the-scenes photos: http://www.bodiceripperproject.com/Purchase Maren's debut book, Pandemic Passion: A COVID-19 novella on Kindle: https://amzn.to/3guGck0Transcript and Show Notes: http://www.bodiceripperproject.com/e005/

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.

In this episode of Spoleto Backstage , Geoff Nuttall introduces Bradley Fuller to another of the most memorable Spoleto Festival USA chamber music programs from the past decade. This 2016 concert includes moving arias by Handel (with countertenor Anthony Roth Costanzo performing), an expressive keyboard sonata by CPE Bach, and César Franck’s intensely passionate Piano Quintet in F minor. Following the performance, Bradley speaks with violist, educator, and intended composer-in-residence for the 2020 chamber music series Jessica Meyer. A recording of Meyer’s Seasons of Basho—a work slated for performance in the chamber series—comes after their conversation.

Composers and performers are finding incredibly creative ways to continue connecting and making great music in the midst of a global pandemic. Seth talks with composers Suzanne Farrin, Gene Pritsker, Carlos Simon, Liza Sobel and Greg Bartholomew as well as countertenor Anthony Roth Costanzo and American Composers Orchestra's Artistic Director Derek Bermel. MUSIC Nacht (excerpt) by Suzanne Farrin Performed by: Suzanne Farrin, ondes Martenot Alice Teyssier, voice Ross Karre, percussion Randall Zigler, bass Nuiko Wadden, harp Ryan Streber, audio engineer Pandemic Dance #32 and #30 by Gene Pritsker Performed by: Carson Cooman, organ Kristof Knoch - bass clarinet Gene Pritsker - electric guitar Another Rising by Carlos Simon Presented as part of American Composers Orchestra's Connecting ACO Community Performed by: Anthony Roth Constanzo, counter tenor Brooklyn Youth Chorus, Dianne Berkun Menaker - Founder and Artistic Director Brian Losch, sound editing and mixing Reverse Forward by Liza Sobel Performed by the Civic Orchestra of Chicago, Ken-David Masur - conductor Fire and Ice and Prairie Spring by Greg Bartholomew Performed by: Matt Curtis Useless Machines for Thinking, Dreaming, Feeling mvmt 3 Mind Fire by Seth Boustead Performed by Ford Fourqurean - bass clarinet David Keller - cello Henry Zheng - violin

Anthony Roth Costanzo loves hosting people for dinner. Anthony and Kai talk about his fitness company, Epulse (6:20), the insane story of how he became the first non-Asian person to perform in Japan's Kabukiza (21), and how starting out in community theater made him realize the importance of relationships (30:40). They also discuss how to create win-win situations and how he got Tilda Swinton and Raf Simons to collaborate with him (39). 

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.

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.

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.

Fresh off Fresh Air, Anthony Roth Costanzo joins us in the bowels of the Metropolitan Opera as he prepares for his starring role in Philip Glass’ Akhnaten. ARC by Anthony Roth Costanzo AKHNATEN starring Anthony Roth Costanzo at the Metropolitan Opera (Opens November 8th, 2019) EPISODE 24: WITH ANTHONY ROTH COSTANZO youtube.com/DANCEANDSTUFF SUPPORT THE MAKING OF DANCE AND STUFF via PATREON www.DANCEANDSTUFF.com --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Season 5 starts with Oliver going ‘Inside the Huddle’ with the star of the Metropolitan Opera’s production of Philip Glass’s “Akhnahten”, countertenor Anthony Roth Costanzo... American soprano Kathyrn Lewek shamed the critics that shamed her last week. Mic drop! Plus, a recap the fall out of the allegations of sexual assault against famed tenor Plácido Domingo... The OBS’s newest cohost, Ashlee Hardgrave, shares one of the operas on her ‘must-see’ list for the coming season… In the ‘Two Minute Drill’, critics complain about English National Opera, but not about a production... www.facebook.com/OBSCHI1 www.operaboxscore.com www.wnur.org/popup

Countertenor extraordinaire Anthony Roth Costanzo joins festival director Lucy Dhegrae for a talk about his upcoming set on the 2019 NYC Festival. Anthony performs on the opening night, September 3rd, showcasing his many operatic collaborations with living composers, and chats about his work with Kaija Saariaho, Gregory Spears, Phillip Glass, Suzanne Farrin, and others. Anthony also discusses his upcoming appearance with the Metropolitan Opera in the title role of Phillip Glass's "Akhnaten" and his multi-sensory album-turned-megaproject "Glass/Handel."

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 his debut solo album, star countertenor Anthony Roth Costanzo pairs two iconic composers: George Frederic Handel and Philip Glass.  While the two may seem at opposite ends of the musical spectrum, Costanzo draws fascinating parallels between Handel and Glass and ties it all together in this wonderful disc – which he joins us to preview.

In his debut solo album, star countertenor Anthony Roth Costanzo pairs two iconic composers: George Frederic Handel and Philip Glass. While the two may seem at opposite ends of the musical spectrum, Costanzo draws fascinating parallels between Handel and Glass and ties it all together in this wonderful disc – which he joins us to preview.

Watch the ambitious countertenor sing music that spans more than 250 years, connecting the dots between David Byrne, George Frideric Handel and Philip Glass.

Watch the ambitious countertenor sing music that spans more than 250 years, connecting the dots between David Byrne, George Frideric Handel and Philip Glass.

For more information, please visit our show notes here:resonantbodiesfestival.org/podcast/2018/anthony-roth-costanzo-show-notes

James Ivory is a film director, producer, and screenwriter (known for the 2017 film Call Me By Your Name)Michael Chekov was a Russian-American actor, director, author, and theatre practitioner.Costanzo's first operatic role was Miles in Benjamin Britten's The Turn of the Screw, which is based on a Henry James novella by the same name.The Baroque opera Giulio Cesare by George Frideric HandelCostanzo performed in Jimmy López's Bel CantoEvans mentions contemporary composer Jake Heggie's Great ScottKabuki is a traditional style of Japanese dance-dramaCostanzo was the Executive Director of a dance company with Karole ArmitageCostanzo works with the American Modern Opera Company (AMOC), a collective dedicated to creating new worksCostanzo recently hosted a Metropolitan Opera Live in HD performance of Luisa Miller by Giuseppe VerdiCostanzo has been reading the novel Less and the plays God's Ear and Eurydice

Anthony Roth Constanzo is the most famous American countertenor and a survivor, like Reid. This is the episode where Reid reveals what health issue he has been eluding to; its a plea for you to get yourself signed up for healthcare before the December 15th deadline! --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Frank reviews two productions from the 2017 Spoleto Festival USA: the U.S. premiere of Vivaldi’s most popular opera, and the return to Charleston of an internationally acclaimed flamenco dance company. Read Full Dispatch > This WDAV Dispatch from Spoleto reviews two productions from the 2017 festival: the US premiere of a once-celebrated, now obscure opera; and the return to Charleston of an internationally acclaimed flamenco dance company. Antonio Vivaldi is one of my favorite composers, but like most classical music lovers, I know him primarily because of his instrumental concertos, with the set known as The Four Seasons his most familiar and ubiquitous. Yet during his career, Vivaldi enjoyed far more success as an opera composer, and of his more than forty operas, Farnace enjoyed the greatest popularity. So I really looked forward to seeing and hearing my first Vivaldi opera, and the Spoleto Festival USA production running at the Dock Street Theater did not disappoint, with a staging and performance that matched Vivaldi’s music in energy, invention and sheer beauty. The libretto is the opera’s weakest point. The title character is the defeated King of Pontus, who orders his wife to kill their son and then herself rather than subject to humiliation and slavery at the hands of the Roman conquerors. So it’s hard to warm up to this character, to say the least. And his captured sister, the beautiful Selinda, seduces two enemy suitors in order to turn them against their leaders and win her freedom, as well as restore her brother to the throne. By the time all the conflict is resolved happily in the final act, the abruptness of the resolution drew laughter from the festival audience that I’m certain wasn’t the intent of librettist Antonio Lucchini. But Vivaldi’s music helps you overlook the problems with the story. As in his concertos, the composer finds seemingly infinite variety within the strict formulas of Baroque opera, and his writing, for both voices and orchestra, conveys drama and atmosphere magnificently. The exuberance of military victory; the heartbreak of a father’s grief when he believes his child is dead; and the exquisite longing of an unfulfilled lover; all of these situations and many more are vividly realized in the score. Every element of this production serves the opera beautifully, beginning with the exceptional cast. The audience is treated to the rare spectacle (in modern times, at any rate) of two counter-tenor roles: Anthony Roth Costanzo as Farnace, and Nicholas Tamagna as the Roman general Pompeo. Both sing with startling brilliance, and Costanzo manages the near impossible by making us care about Farnace in the heart-rending aria that closes the first act. As the warrior queen Berenice, contralto Kiera Duffy has a stage presence to match her commanding voice, and she masterfully utilizes the flowing headdress given her by costumer Terese Wadden. And soprano Augusta Caso is sensuous and touching in the role of Berenice’s captain Gilade (a role originally written for a male castrato singer, but in this staging turned unambiguously into a female character). All of the singers act as well as they vocalize, and often do it while sitting, on their knees, and at one point in Farnace’s case, lying face down in grief. Stage director Garry Hynes arranges stunning tableau, and the set design by Francis O’Connor uses spare, simple elements to great effect. A lamp flown down from the above the stage creates Selinda’s prison cell in its shaft of light; a suspended portrait of Farnace draped in black evokes his monument; and the backdrop of an ocean receding into the horizon that’s visible throughout the performance captures as many shades and colors as Vivaldi’s music. The Spoleto Festival USA Orchestra handles the particular demands of the Baroque score deftly under the direction of David Peter Bates, who conducts from the harpsichord. They fill the Dock Street Theater with sound when necessary, but never overpower the singers, and at other times quiet to a thrilling hush that lets the voices shine with subtler emotions. Farnace has four more performance during the festival on June 2 nd , 5 th 7 th and 9 th . Details are at spoletousa.org . Regrettably, the presentation by the Maria Pagés Company performed on only two consecutive days early in the festival. But if you ever come across this ensemble again, it will be well worth your while to catch it. Their program Yo, Carmen – “I, Carmen” – is an ode to womanhood in the fiery language of the flamenco music and dance of the Spanish gypsies. The character from Bizet’s opera (and some of the more familiar parts of its score) serve as reference points for a series of dance vignettes that also employ poetry, song and even a quasi-rap, “Todas las mujeres” – “All the Women.” The production is at once authentic and sophisticated, with the traditional aspects of flamenco blended with elements of modern dance and performance art. The meticulously designed and executed choreography is viscerally stimulating and visually stunning. It’s a shame it couldn’t have a longer run at the festival.

I programmet diskuteras Dixit Dominus x 3, tre pianokonserter med Danny Driver som solist, tre okända verk av Vaughan Williams och fyra kammarkonserter av Weinberg. Magnus väljer Prokofjev-baletter. I panelen Evabritt Selén, Sara Norling och Tony Lundman som tillsammans med vikarierande programledaren Magnus Lindman betygsätter följande skivor:  RALPH VAUGHAN WILLIAMS The Lark ascending, Sex korta stycken, The Solent, Fantasia för piano och orkester Jennifer Pike, violin, Sina Kloke, piano New Yorks kammarorkester Salvatore Di Vittorio, dirigent Naxos 8.573530 BEACH CHAMINADE HOWELL Pianokonserter Concertstück ciss-moll Danny Driver, piano BBCs skotska symfoniorkester Rebecca Miller, dirigent Hyperion CDA 68130 DIXIT DOMINUS Musik av Vivaldi, Mozart och Händel Anthony Roth Costanzo, Makoto Sakurada m.fl solister La Capella Reial de Catalunya Le Concert des Nations Jordi Savall, dirigent Alia Vox AVSA 9918 MIECZYSLAV WEINBERG Kammarsymfonier nr 1 4, Pianokvintett op 18 Yulianna Avdeeva, piano, Andrei Pushkarev m.fl. Kremerata Baltica Gidon Kremer, violin, m.fl. ECM 2538-39  Referensen Magnus jämför med och refererar till en inspelning av Vaughan Williams The Lark ascending med violinisten Hugh Bean som spelar tillsammans med New Philharmonia Orchestra, allt under ledning av Adrian Boult. Inspelningen gjordes 1968 på EMI.  Magnus val Magnus väljer och spelar valda delar ur en box betitlad Ballets Prokofiev, 125th Anniversary Edition, innehållande balettmusik av Prokofjev, där dirigenten Gennadij Rozjdestvenskij leder Moskva-radions symfoniorkester, Sovjetiska kulturministeriets orkester och Bolshoj-teaterns orkester i inspelningar gjorda mellan 1959 och 1990. Boxen rymmer 8 CD och en i bonus; en unik inspelning där tonsättaren själv dirigerar bl.a. Romeo och Julia. Skivmärket är Melodija. Andra i programmet nämnda eller rekommenderade inspelningar: Amy Beachs Pianokonsert i Naxos serie American Classics, med solisten Alan Feinberg i sällskap med Nashvilles symfoniorkester och ledda av Kenneth Schermerhorn. Violinisten Jennifer Pikes inspelningar på Chandos. Vaughan Williams The Lark ascending med Tasmin Little och BBCs filharmoniker under ledning av Andrew Davis på Chandos. Weinbergs kammarsymfonier med Helsingborgs symfoniorkester under ledning av Tord Svedlund på Chandos. Weinbergs opera The Passenger   Inget svep denna vecka

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.

American countertenor Anthony Roth Costanzo plays the role of the stage manager Roane Heckle in Great Scott. In this interview he talks about the countertenor voice type, the role, and his own experience of stage managers in his substantial theatrical career. Enjoy!