Podcast appearances and mentions of asher fisch

La chronique musique de Bruno Fraitag.

In the thirty-fifth year of his career, Daniel Sumegi has sung over one hundred operatic roles on many of the world's major stages – including the Metropolitan Opera, San Francisco Opera, Los Angeles Opera, Washington National Opera, Seattle Opera, as well as at Opera Australia.  He has also appeared in the opera houses of Bonn, Cologne, Frankfurt and Hamburg, as well as Paris, Barcelona, Tokyo, Hong Kong, Los Angeles and Houston among many others. Regarded also for his dynamic acting, his broad repertoire encompasses all periods of music – from Monteverdi and Mozart to Britten, Tippett and Puts.  Equally comfortable as Strauss' Baron Ochs, Mozart's Sarastro and Commendatore, Verdi's Grand Inquisitor and Sparafucile, Offenbach's Four Villains or Puccini's Scarpia, he has participated in Ring Cycles in New York, Los Angeles, San Francisco, Strasbourg, Cologne, Tokyo, Buenos Aires, Seattle, Melbourne and Adelaide, most notably as Hagen.  He has additionally performed Hunding in concert for the Hong Kong, Atlanta, Stuttgart and Melbourne Symphony Orchestras. Daniel's 2021/2022 engagements included Die Walküre (Singapore), Salome (Victorian Opera), Fidelio (Dublin) and Bluebeard's Castle, Aida and Lohengrin (Opera Australia). Among other roles, he has sung Die Meistersinger von Nürnberg (Pogner) for Opera Australia, Salome (Jochanaan) for New Israeli Opera, Der fliegende Holländer (title role) for Malmö Opera in Sweden and Carmen (Zuniga) for Seattle Opera.  He also undertook his music theatre debut, as Judge Turpin in Sondheim's Sweeney Todd, seen in Sydney and Melbourne.   Past highlights include Don Carlo and Madama Butterfly (Metropolitan Opera), Der Rosenkavalier (Scottish and Welsh National Opera), Luisa Miller (San Francisco), Billy Budd and Rigoletto (Los Angeles), Parsifal (Hamburg, Barcelona, Adelaide), Salome (Washington, Hamburg, Leeds, Hong Kong), Der fliegende Holländer, Aida, Beatrice and Benedict and Barbiere (Seattle), Manchurian Candidate (Minnesota, Austin), and more than 25 principal roles for Opera Australia. He has collaborated with noted conductors such as James Conlon, Sir Andrew Davis, Charles Dutoit, Dan Ettinger, Asher Fisch, Valery Gergiev, Nicola Luisotti, Sir Charles Mackerras, Yannick Nézet-Séguin, Renato Palumbo, Sir Simon Rattle, Carlo Rizzi, Donald Runnicles, Nello Santi, Sir Jeffrey Tate, Edo de Waart, Sebastian Weigle, and Simone Young. Daniel Sumegi appears on CD in Beatrice di Tenda and Seattle Opera's acclaimed Ring Cycle, and on DVD in the San Francisco Opera Production of Capriccio, Opera Australia's Don Giovanni, and the historic condensed Ring Cycle from Teatro Colón, Buenos Aires. In December, he makes his role début as Wotan/The Wanderer in OA's new production of Der Ring des Nibelungen. The STAGES podcast is available to access and subscribe from Spotify and Apple podcasts. Or from wherever you access your favourite podcasts. A conversation with creatives about craft and career. Follow socials on instagram (stagespodcast) and facebook (Stages).www.stagespodcast.com.au

Meet the characters and explore the rich vocal history of DAS RHEINGOLD with Seattle Opera Dramaturg Jonathan Dean. With recorded music examples ranging from 1904 to 2015, Dean considers how DAS RHEINGOLD challenges its singers to feats of lyrical and heroic singing—and even listens for the dreaded “Bayreuth Bark.” Includes special examples from Seattle Opera's 1976 English-language RING, plus “tag-team” musical examples—where switching singers mid-aria offers an opportunity to hear even more amazing voices. Musical credits: 100 Jahre Bayreuth als Schallplate, the Early Festival Singers: Anton von Rooy (Wotan), 1908; Hans Breuer (Mime), (1904); Ernestine Schumann-Heink (Erda), 1907. Les Introuvables du Chant Wagnerien: Friedrich Schorr (Wotan), 1929. 1953 Bayreuth; Clemens Krauss conducts Ludwig Weber (Fasolt), Josef Greindl (Fafner), Erich Witte (Loge), Hermann Uhde (Donner), Paul Kuen (Mime). 1953, RAI Roma; Wilhelm Furtwängler conducts Lorenz Fehenberger (Froh). 1976, Seattle Opera; Henry Holt conducts Malcolm Rivers (Alberich) and Noel Tyl (Wotan) singing Andrew Porter's English translation. 1978, Covent Garden; Colin Davis conducts George Shirley (Loge). 1989, Bayerische Staatsoper; Wolfgang Sawallisch conducts Nancy Gustafson (Freia), Kurt Moll (Fafner), Marjana Lipovsek (Fricka), Julie Kaufmann (Woglinde), Angela Maria Blasi (Wellgunde), and Birgit Calm (Flosshilde). 1991, Bayreuth; Daniel Barenboim conducts John Tomlinson (Wotan), Matthias Hölle (Fasolt), and Helmut Pampuch (Mime). 1995, Seattle Opera; Hermann Michael conducts Monte Pederson (Wotan). 2013, Seattle Opera; Asher Fisch conducts Greer Grimsley (Wotan), Stephanie Blythe (Fricka), and Dennis Peterson (Mime). 2015, Hong Kong Philharmonic; Jaap van Zweden conducts Kwangchul Youn (Fasolt), Stephen Milling (Fafner), and Kim Begley (Loge).

The introductory first opera of Wagner's RING cycle is a unique and fascinating work in its own right: both a lively fantasy and a trenchant satirical allegory. Seattle Opera Dramaturg Jonathan Dean introduces DAS RHEINGOLD, with musical examples from previous Seattle Opera productions including 1977 (conducted by Henry Holt and starring Malcolm Rivers), 1995 (conducted by Hermann Michael and starring Julian Patrick), 2005 (conducted by by Robert Spano and starring Ewa Podles), and 2013 (conducted by Asher Fisch and starring Mark Schowalter). Special thanks to Alex Minami.

It has been flagged as the show of the year that should not be missed. With 250 performers on stage and one of the world's top sopranos - WA's Elena Perroni - Britten's War Requiem with WASO is a rare event that will delight. Principal conductor Asher Fisch will be leading the show this Friday and Saturday nights at the Perth Concert Hall. He told Liam Bartlett on 6PR Mornings the anti-war piece is the most famous of renowned composer Benjamin Britten's works, first performed in 1962. "Surprisingly it is in disguise also an anti-religion establishment piece, which is quite shocking," he said. "When Britten first performed it they used to perform with three conductors."See omnystudio.com/listener for privacy information.

All of us are made with unique gifts—ultimately so we can bless the world. But how can we discover our gifts and lean into our calling? Join host Richard Dahlstrom as he talks with John Carrington, the Principal Harpist with the Pacific Northwest Ballet Orchestra, the Bellevue Philharmonic and the Auburn Symphony.  Seattle native John Carrington appears regularly with the Seattle Symphony and Seattle Opera where he was Guest Principal Harpist for several seasons. He performs with the Fifth Avenue Theatre Orchestra and has worked as solo harpist on Cunard Line's "Queen Elizabeth 2" performing for its World Cruise on six continents John's classical background includes performances with such conductors as Seiji Ozawa, Charles Dutoit, Leonard Slatkin, Gerard Schwarz, Asher Fisch and John Rutter. His popular music experience is equally notable, as he has shared the stage with Tony Bennett, José Carreras, Josh Groban, Olivia Newton-John, Rita Moreno, Doc Severinsen, and James Taylor, to name a few. In addition, John is a sought-after recording artist, participating in over 200 motion picture soundtracks and including “Mr. Holland's Opus”, “The Wedding Planner,” and several Disney and Hallmark Hall of Fame productions. He's also performed on video game soundtracks including "Halo" and "World of Warcraft." He received his Master of Music degree from the Cleveland Institute of Music after earning his Bachelor of Music from the University of Washington.

- 聊天的人 -梵一如（微博：@番薯梵一如）权小星 东方卫视国际部资深编导、前驻韩记者（微博@首尔星河湾_koreatong）-时间轴-02:00 尹锡悦就任过程复盘11:00 中韩关系的未来走向15:45 尹锡悦会给中韩交恶踩刹车还是油门？20:25新总统最大的内政课题29:00 尹锡悦的外交政策走向36:20 尹总统的左膀右臂会是谁45:30文在寅能否打破青瓦台魔咒？52:10 听友提问1：尹锡悦上台会否影响到在韩务工中国人的权益58:45 听友提问2: 中韩产业竞争与两国关系的互动1:03:00 听友提问3: 青瓦台请愿网站被关&韩国新总统的科技发展愿景1:09:10 听友提问4: 首尔买房啥时候出手比较好？1:13:40 听友提问5: 未来5年的东亚互动关系展望- ED -Jonas Kaufmann,Orchestra del Teatro Massimo di Palermo,Nino Rota,Asher Fisch,Palermo Teatro Massimo Orchestra-Parla più piano - Parla più piano- Logo -五颜六色的大亮哥- 收听方式 -推荐您使用小宇宙app、喜马拉雅、网易云音乐等平台订阅收听《东亚观察局》- 制作 -番薯剥壳工作室（Yakimo Studio）

Wagner's revolutionary masterpiece, often considered the most Romantic opera ever written, returns to Seattle Opera in October 2022. Seattle Opera Dramaturg Jonathan Dean introduces Tristan und Isolde, with musical examples from Seattle Opera's 1998 (starring Jane Eaglen, Ben Heppner, and Michelle DeYoung, conducted by Armin Jordan) and 2010 (conducted by Asher Fisch, with Simeon Esper as the Shepherd and the English Horn solo played by Stefan Farkas) productions, plus 2011 Die Zauberflöte  (conducted by Gary Thor Wedow and starring Philip Cutlip).

Asher Fisch was a joy to chat with - open, honest, and full of opinion. The sound of this podcast is a little different from the norm as we had to use his phone to record him but you hear every word, as clear as a bell and they are well worth hearing! I hear his views on how a conductor's attitude needs to change from country to country, we chat about a mutual friend with who we have shared a stage countless times, and I discover what two "bugs" he has tested positive for! If you would like to find out more about the world of conducting and conductors, why not subscribe at https://www.patreon.com/amiconthepodium, and for a monthly fee starting from just £5 a month, you can access two new series of interviews, group Zoom meetings with other fans of the podcast and myself, a monthly bulletin about the podcast and my own career as well as articles, photos, videos and even conducting lessons from myself. If you listen via Apple podcasts, please do leave a rating and review - it really helps the podcast get noticed and attract more listeners. If you want to get involved on social media, you can via Facebook (https://www.facebook.com/amiconthepodium) or Twitter (@amiconthepodium). This interview was recorded on 10th January 2022 via Zoom.

Nach mehr als einem halben Jahr ohne Publikum im Saal hat die Bayerische Staatsoper am 13. Mai erneut ihre Pforten geöffnet. 700 Plätze, standen zum Verkauf. Eintritt nur mit zertifiziertem Test und Maske. Zum Neustart gab es eine konzertante Aufführung des ersten Akts von Richard Wagners "Walküre" - prominent besetzt mit Jonas Kaufmann, Lise Davidsen und Georg Zeppenfeld als Solisten. Am Pult stand Asher Fisch. BR-KLASSIK-Redakteur Bernhard Neuhoff war Zeuge dieses ganz besonderen Abends.

At Seattle Opera we had the great good fortune to work with the late great bass Arthur Woodley many times over 25 years. In this podcast, which will also air on KING FM during the intermission of BORIS GODUNOV on January 9, Seattle Opera Dramaturg Jonathan Dean shares some of Arthur Woodley’s extraordinary vocal performances and memories of this beloved singer. Archival clips featuring the Seattle Opera orchestra, chorus, and soloists from performances of Bluebeard’s Castle, 2009, conducted by Evan Rogister; The Marriage of Figaro, 2009, conducted by Dean Williamson; Julius Caesar, 2007, conducted by Gary Thor Wedow; Il trovatore, 2010, conducted by Yves Abel; Fidelio, 2012, conducted by Asher Fisch; La bohème, 2013, conducted by Carlo Monatanaro, and Lucia di Lammermoor, 2010, conducted by Bruno Cinquegrani.

In this series of podcasts, Seattle Opera Dramaturg Jonathan Dean gives listeners a taste of nine different types of traditional opera. Verismo was a late nineteenth-century reaction against the excesses of the great tradition. The aim was immediate, powerful, realistic opera, with post-Wagnerian music of titanic passion setting stories about simple, everyday, relatable characters. The vogue for verismo dominated opera as the older art form gave birth to the cinema. Leoncavallo’s masterpiece Pagliacci (1892) serves as a well-known example of verismo; Il tabarro (1918), by Puccini, isn’t so well-known but is every bit as great. Musical examples on the podcast drawn from Seattle Opera recordings of Andrea Chenier, 1996, conducted by Steven Mercurio; La bohème, 2007, conducted by Vjekoslav Sutej and starring Karen Driscoll and Philip Cutlip; Turandot, 2012, conducted by Asher Fisch and starring Antonello Palombi; the 1953 EMI Classics recording of PAGLIACCI conducted by Renato Cellini; and the 1956 EMI recording of Il tabarro conducted by Vincenzo Bellezza and starring Tito Gobbi and Margaret Mas. Stay tuned for another podcast introducing another kind of opera next week!

In this series of podcasts, Seattle Opera Dramaturg Jonathan Dean gives listeners a taste of nine different types of traditional opera. Music Drama was the personal solution to the problems of presenting opera in nineteenth-century Europe developed by composer/librettist Richard Wagner, opera’s ultimate mad genius. These long, loud, big works challenge artists, audiences, and the art form itself. Their complex music and unique spins on old stories continue to attract, repel, and provoke all who encounter them. Wagner’s Tristan und Isolde (1865) serves as an example of the genre, as does the Richard Strauss opera Elektra (1909). Musical examples on this podcast drawn from Seattle Opera productions of Lohengrin 1994, conducted by Hermann Michael; Parsifal 2003, conducted by Asher Fisch and starring Stephen Milling; Die Walküre, conducted by Robert Spano, 2005 (starring Jane Eaglen) and 2009; Siegfried, 2013, conducted by Asher Fisch; and Tristan und Isolde (1998, conducted by Armin Jordan and starring Jane Eaglen and Ben Heppner; 2010, conducted by Asher Fisch; opening and English horn solo from the 1966 Bayreuth Festival recording conducted by Karl Böhm; conclusion of Beethoven’s Fifth Symphony, Berlin Philharmonic conducted by Karajan (Deutsche Gramophon 1977); Elektra, Astrid Varnay and Leonie Rysanek with the orchestra of West German Radio conducted by Richard Kraus (Melodram 1953). Stay tuned for another podcast introducing another kind of opera next week!

The 1875 premiere of Carmen at the Opera Comique in Paris was met with shocked gasps and raised eyebrows. Both the story and its seductive heroine were shockingly risque for the audience and the critics in attendance. But the genius of Bizet's music was irrepressible, and the opera was a resounding success within a few short months. It remains among the most-performed operas in history.   On this week's episode of He Sang/She Sang, hosts Merrin Lazyan and Julian Fleisher speak with conductor Asher Fisch all about Bizet's masterpiece. We discuss why this opera is loved by opera newbies and connoisseurs alike, and Fisch shares a few of his tips and tricks for keeping an opera on track when it all starts to fall apart. We also speak with mezzo-soprano Clémentine Margaine, who is making her Metropolitan Opera debut as opera's famous femme fatale -- an independent, sexually liberated gypsy woman who trades her life for freedom.   Julian's YouTube pick (from Gilligan's Island): Merrin's YouTube Pick (Maria Callas, 1962): This episode features excerpts from the following album: Bizet: Carmen (EMI Classics, 2003)— Angela Gheorghiu, soprano; Roberto Alagna, tenor; Orchestre National du Capitole de Toulouse conducted by Michel Plasson