Podcast appearances and mentions of august everding

This week's “Forgotten Diva” is the mezzo-soprano / contralto Gwendolyn Killebrew (26 August 1941 – 24 December 2021), who made an indelible contribution to opera in particular during the active years of her career (1965 – 2009). Though the majority of her career was centered at the Deutsche Oper am Rhein in Düsseldorf, she sang the world over with some of the most important opera companies (including the Metropolitan Opera, San Francisco Opera, the Salzburg Festival, Bayreuth, Washington Opera, Santa Fe Opera, La Monnaie, and the Bayerische Staatsoper), conductors (Pierre Boulez, Gary Bertini, Michael Gielen, Herbert von Karajan, Zubin Mehta, Georg Solti), and stage directors (Patrice Chéreau, Jean-Pierre Ponnelle, August Everding, Giancarlo del Monaco, Christof Loy, and John Dew). She had an enormous repertoire from Monteverdi and Handel to Henze and Fortner, excelling in particular in various Wagner roles. She was also a superb actor, who, through the use minimal gestures and stage business, made an enormous impact. This episode presents her in a wide range of material, including both live and commercial recordings ranging from Cavalieri to Zimmermann, alongside such fellow singers as Teresa Stratas, Carlo Bergonzi, Hermann Prey, Stuart Burrows, Sherrill Milnes, and Gail Gilmore led by conductors Leonard Bernstein, Gary Bertini, Bohumil Gregor, Berislav Klobučar, James Levine, Heinz Wallberg, and Eve Queler. Of special interest is a rare live recording of her prize-winning performance of “Asie” from Ravel's Shéhérazade at the 1967 International Voice Competition in Montréal. The episode opens with brief memorial tributes to soprano Wilhelmenia Fernandez and pianist Thomas Muraco. 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 support at whatever level you can afford.

Im Münchner Prinzregententheater feierte gerade Rossinis Frühwerk "L‘occasione fa il ladro" Premiere. Am Pult des Münchner Rundfunkorchesters: Patrick Hahn. Auf der Bühne: Studierende der Theaterakademie "August Everding". Mari Häring war bei Proben dabei.

Folge 100! Und 750.000 Zuhörer*innen und Downloads. WOW! Wahnsinn! Danke euch allen! Diese Woche ist Nicole Johannhanwahr bei uns zu Gast und hat extra zum Jubiläum einen "Spielplatz-Kuchen" gebacken. Fotos davon findet ihr auf unserer Instagram-Seite. Nicoles Weg in den Beruf war besonders und nicht gerade einfach: über ein Musical-Studium an der August-Everding in München hat sie sich letztendlich doch entschieden Schauspielerin zu werden. Wie schwer dieser Berufswechsel als alleinerziehende Mutter war und wie sie bis heute mit manifestierten Frauenbildern in der Branche zu kämpfen hat - das und natürlich auch viele positive Erfahrungen von Nicole besprechen wir in der heutigen Folge vom Spielplatz! Viel Spaß und bis nächste Woche! Moderation: Johann Christof Laubisch & Cedric Sprick Diese Folge wird präsentiert Casting-Network, dem deutschen Schauspiel-Branchenportal. Hier findest du alles zum Thema Schauspiel, Casting und Workshops in deiner Stadt. Hole dir jetzt deinen Premium-Acccount für exklusive Brancheninfos. Auf www.casting-network.de Im März 2021 startete zusammen mit casting-network.de die Sonderreihe "SPIELPLATZ (V)ERMITTELT". Immer am 15. jeden Monats treffen wir uns mit Menschen aus der Branche, mit denen wir über tagesaktuelle und brisante Themen sprechen. Im November treffen sich Cedric Sprick und Johann Christof Laubisch mit dem Schauspieler Erwin Aljukic, der die Glasknochenkrankheit hat und im Rollstuhl sitzt. Sie sprechen über die Arbeit als Schauspieler mit einer sichtbaren Behinderung. Mit welchen Vorurteilen ist man konfrontiert? Was könnte besser gemacht werden im Umgang mit Menschen mit Behinderung und warum ist die Realität diverser als die Fiktion der deutschen Film- und Fernsehlandschaft. Das und vieles mehr besprechen wir in der November-Folge von "Spielplatz (v)ermittelt". Ihr habt Lust uns zu unterstützen? Dann sendet uns gerne eine kleine Spende an unsere Podcast Kaffeekasse. Da wir quasi ein non-profit Unternehmen sind, nutzen wir jeden Euro um ihn für den Spielplatz zu reinvestieren. PAYPAL: spielplatz.podcast@gmail.com Wenn ihr Fragen, Kritik Anmerkungen habt, schreibt uns einfach eine Mail an spielplatz.podcast@gmail.com oder bei Instagram https://www.instagram.com/spielplatz_derpodcast/ Wer uns abonniert, verpasst keine Folge und über Weiterempfehlungen würden wir uns freuen. Vielen Dank und bis nächste Woche auf dem Spielplatz!

Heute das 30.-Mal. Kaum zu glauben. Heute geht es um entmottete Flugzeuge, Richard Wagners Ambivalenz, Mächtige Geräte (nicht das, was ihr denkt), 3 Dinge gibt es auch. Welche hat der Verfasser des Textes vergessen. Hört halt selber! Viel Spaß mit Folge 30 von Distanz & Gloria! Roberts Empfehlung(en): Gummistiefel! Man sieht im Regen immer aus, wie ein Nässe-Profi. Das Streitgespräch zwischen Joachim Kaiser und Marcel Reich-Ranicki "Prima la musica, dopo le parole?" moderiert von August Everding. https://youtu.be/iE_E3KL6AfI Der hochoffizielle D&G Instagram Channel: @distanzundgloria Städts Instagram: @staedt_tc Roberts Instagram: @tenorpohlers

Phebe Berkowitz-Tanners grew up in the Central City Opera House. Her family made a second home in our magical, old western town during the summers of 1953-1963 when her father, Metropolitan Opera violist David Berkowitz, played the Festival season with the Central City Opera Orchestra. Now a dedicated supporter of the company, Phebe reminisces with CCO Director of Development Katie Nicholson about mounting backyard opera productions with other children of the Festival company (attended by famous singers and actors of the main stage!), experiencing the world premiere of The Ballad of Baby Doe from behind the scenes and the expansive and international Central City Opera community that she found throughout her career as an opera stage director and production professional. Guest host Katherine (Katie) Nicholson was recently featured on the Central City Opera blog, take a read get to know her better! Those of you watching the video version of this interview will notice the poster for Central City Opera’s Voice Your Dreams Endowment Campaign behind Katie. If you want to learn more and/or contribute to the Campaign to help our company endure long into the future, contact Katie at knicholson@centralcityopera.org or 303-331-7015! Special thanks to Central City Opera Office Administrator Wanda M. Larson who’s helped us keep in close contact with our guest, Phebe, throughout the years and continues to show her passion for unforgettable Central City Opera experiences and community. You’ll probably recognize her if you’ve been up to the summer Festival, she’s the Gift Shop Admin/Buyer, too! Historical preservation is a pillar of Central City Opera’s mission. Learn about the dozens of historic properties we own and maintain. Explore more Central City history, and even schedule a tour at www.gilpinhistory.org. “The famous ghost town” of Nevadaville is just up the street from Central City. Learn more about it at www.uncovercolorado.com. Like many patrons and visitors, Phebe mentions paranormal experiences in and around our properties. Have you encountered something ghostly in Central City? Phebe talks about many exciting moments and incredible figures from Central City Opera, including: Phebe spent her first summer at Central City Opera in 1953, the production was Bizet’s Carmen. She was 7 and her sister was 9. They fell in love with the music, sitting in on every rehearsal, and they began the tradition of performing their own versions of the season’s operas in their backyard with the other children of the Festival company. They’d string up a sheet to make a stage curtain, and star actors and singers would even come to see their shows! According to Phebe, these “parodies” and performances went on to inspire the tradition of our famous singing ushers. You’ll hear the famous Risë Stevens recording of Carmen that Phebe and her sister loved so much as background music during this podcast. Wonderful performers Phebe recalls knowing as a child—some of whom attended her backyard productions—were Julie Harris, Tammy Grimes, Shirley Booth, Arlene Saunders. One of Phebe’s favorite memories of Central City Opera was the world premiere of The Ballad of Baby Doe in 1956. She was 10 years old at the time, and she remembers all the excitement and artistry of composer Douglas Moore, librettist John La Touche, director and renowned choreographer Hanya Holm, director Edwin Levy and starring sopranos Dolores Wilson and Leyna Gabriele, all working together on this brand new opera. Read more about Baby Doe Tabor as a historical figure and the opera based on her life on the Central City Opera blog! Cyril Richard—perhaps best remembered as Captain Hook in the Mary Martin musical production of Peter Pan—played Don Andres in La Perichole at Central City Opera in 1958. Phebe talks about how he kindly reassured her little brother, who had made a loud mistake on stage while playing a non-singing role in the production. Over her summers at Central City Opera, Phebe memorized 17 operas along with the other children. “It was incredible musical education,” she says, “it was all about the music.” Phebe points out, “in those days all the operas [in Central City] were performed in English.” Throughout history it’s been common practice for operas to be adapted to the vernacular of the place they’re being performed. In recent years—especially in the United States—operas are more commonly performed in their original language. Wonder where the performance trends in this 400-year-old artform will take us next! Since various opera companies and orchestras perform during different times of the year, many musicians play in multiple ensembles like Phebe’s dad. For instance many orchestra members at Central City Opera also played with the Metropolitan Opera, and today our orchestra shares many musicians with the Colorado Symphony. The Berkowitz family stayed in a historic house that, during those years, was named after Gypsy Rose Lee (1911-1970). Famous for her burlesque act, Lee was also an actor, author, playwright and all-around fascinating figure that inspired and captured the kids’ imagination. As an adult, Phebe went on to build a career as an opera director and production professional, herself. Learn more about some of the figures and references she makes in this interview: She snagged a job as an intern in makeup and costumes with Hamburg State Opera as a young woman. As she was such a keen observer during rehearsals, Gian Carlo Menotti—the composer of the world-premiere production of Help, Help, the Globolinks! they were producing—asked her to call the light cues. Even with her very limited German vocabulary, she was up to the task! After that, Hamburg State Opera Artistic Director Rolf Liebermann hired her on as lighting stage manager. Later, he took Phebe with him as a stage director when he joined Paris Opera as Artistic Director. Phebe enjoyed many years as a part of the Metropolitan Opera Company, as an assistant stage director, director for revivals and Executive Stage Director (1974-2016). Her time with the Met Opera began when August Everding brought her along as his personal assistant for Tristan und Isolde (1971), which was Rudolf Bing’s last new production. Central City Opera Artistic Director Emeritus John Moriarty is also a close friend and mentor to Phebe. While they didn’t cross paths at CCO, he taught her to stage manage at Lake George Opera—now Opera Saratoga—where they worked together for three years. Read Phebe’s general bio at centralcityopera.org/opera-central Join Phebe in supporting the community and artistry of Central City Opera for many years to come. Find all kinds of ways to donate at centralcityopera.org/support-us Thanks for listening! Musical excerpts featured in this podcast: Carmen by Georges Bizet. Mezzo-soprano Risë Stevens (1913-2013) sings the Act 1 “Habanera.” Recording with the Metropolitan Opera Orchestra in approximately 1948 and conducted by Erich Leinsdorf. The Ballad of Baby Doe by Douglas Moore, Act 1, Scene 2 “Willow Song.” Recorded in 1959 at the New York City Opera Company with soprano Beverly Sills (1929 – 2007) as Baby Doe and Walter Cassel (1910-2000) as Horace Tabor. Conducted by Emerson Buckley (1916-1989). (Cassel and Buckley were part of the original 1956 production at Central City Opera in these same roles.) The Girl of the Golden West by Giacomo Puccini, Act 1 with soprano Eva-Maria Westbroek as Minnie and tenor Yusif Eyvazov as Dick Johnson. Recorded at the Metropolitan Opera and featured on PBS’s Great Performances.

Yirgalem Fisseha Mebrahtu (Eritrea), Jiyar Jahan Fard (Iran) und Aleksei Bobrovnikov (Ukraine) lesen aus ihren Werken Seit mehr als 20 Jahren setzt sich das deutsche PEN-Zentrum mit seinen beiden Programmen „Writers-in-Prison“ und „Writers-in-Exile“ dafür ein, in ihren Heimatländern verfolgten Autor*innen zu helfen und sie mittels dreijähriger Stipendien zu unterstützen. Die derzeit in München lebenden Stipendiat*innen lesen Texte, die ihr „neues Leben“ reflektieren. Einführung, Moderation und Lesung der Übersetzung: Vera Botterbusch (Präsidium des deutschen PEN-Zentrums) Vera Botterbusch, geboren am 10. Februar 1942 in Dortmund. April 1942 Umzug nach Bielitz/Bielsko (Oberschlesien), Januar 1945 Flucht. Studium der Romanistik, Germanistik und Kunst in Bonn, Münster und Grenoble. 1. + 2. Staatsexamen. Regiestudium bei August Everding in München. Studententheater in Bonn, Grenoble und Münster mit Jean Genet (“Die Zofen”), Eugène Ionesco (“La Leçon” – Die Nachhilfestunde), Georg Büchner (“Leonce und Lena”), Jean Paul Sartre “Huit Clos”. Diverse publizistische Tätigkeiten: Kunst, Literatur, Theater u.a. für epd, Radio Bremen, Deutsche Volkszeitung, Kürbiskern, taz …. Ab 1971 regelmäßige Mitarbeit bei der Süddeutschen Zeitung und ständige Mitarbeit als Autorin, Regisseurin und Filmemacherin beim Bayerischen Rundfunk/ Fernsehen. Fotografien für Süddeutsche Zeitung Photo. Ab 1979 regelmäßige längere Arbeitsaufenthalte in Griechenland. Ab 2010 Foto-Ausstellungen u.a. in Jena, München, Passau, Paris, Regensburg, Straubing, Waldkirchen, Weilheim 2016 Künstlerresidenz in Paris. Reisen in fast alle europäischen Länder, in die Türkei/ Irak/ Iran, Russland, La Réunion, Frz. Polynesien (Tahiti, Tuamotu-Archipel, Marquesas, Mangareva), Pitcairn), Osterinsel, Santiago de Chile, Nigeria. Lebt seit 1968 in München und seit 1992 auch im bayerischen Böhmerwald, in der “Neuen Welt”. Mitglied im Bundesverband bildender Künstler (BBK), im Verband deutscher SchriftstellerInnen (VS), ver.di-Medien und im PEN.

Viele Studierende der Musikhochschulen finanzieren ihr Studium durch Gelegenheitsjobs. Aber das reicht nicht immer aus. Um bedürftigen Studenten finanziell unter die Arme zu greifen, hat die August Everding Stiftung einen Nothilfefonds für Studenten der Theaterakademie eingerichtet.

Was die alten Regiemänner über Frauen in ihrem Beruf sagen, ist oft nicht gerade freundlich. So sagte August Everding in den 60er Jahren zu seiner ersten weiblichen Hospitantin: "Weibliche Regisseure gibt es nicht, das werden Sie nie schaffen." Und auch heute sieht es nicht besser aus: Frank Castorf erklärte in diesem Jahr in einem Interview mit der SZ, er habe selten erlebt, "dass eine Frau besser inszeniere als ein Mann".

Es war 1995 ein launiges Streitgespräch zwischen Marcel Reich-Ranicki und Joachim Kaiser, moderiert von August Everding, zu dem strittigen Verhältnis von Text und Musik in der Oper. In dem Buch "Prima la musica, dopo le parole" kann man nun die immer noch gültigen Argumente der drei Kulturgiganten in Ruhe nachlesen. Durchaus lohnend, findet Dorothea Hußlein.

Heute wäre der Intendant und Regisseur August Everding 90 Jahre alt geworden. Zu diesem Anlass kann man im Foyer und den Wandelgängen des Prinzregententheaters die Ausstellung "Der Visionär - August Everding und die Theaterakademie" erleben. Tabea Eppelein hat sich vom Künstlerischen Direktor der Theaterakademie Karl Köwer hindurchführen lassen und einige interessante Anekdoten über August Everding erfahren.

Vor 25 Jahren gründete August Everding seine Theaterakademie im Münchner Prinzregententheater. Der Studiengang Musical bringt am 31. Oktober zusammen mit dem Münchner Rundfunkorchester die deutschsprachige Erstaufführung der Broadway- Fassung von "Cinderella" auf die Bühne.

Some of our episodes talk about a conductor’s journey as a musician, or their philosophical understanding of the nature of choral music. Some episodes are pure toolkits: here’s what you need to solve your problems. This episode has the rare distinction of being both. Dr. Kronauer and Ryan cover the “hows” of directing teenage male voices, as well as the “whys” behind them. You’re going to want to listen to this one twice. Listen: Highlight to Tweet: “Living rigidly is not the game. The game is finding elasticity.” - Steven Kronauer Show Notes: Try thinking less in terms of “blend,” and more in terms of “agreement.” For the teenage male singer, it’s important to reassure them that change is a part of life. Whatever they are working with (or through) will be fine. When dealing with limited range, you need to offer patience and guidance. Provide a model. Avoiding “compensation,” or reaching for a pitch. (“that giraffe thing” - Ryan Guth) Posture and alignment are always important, but especially so for teenage boys. Accept and love this period of life where you’re going through change! Falsetto is huge. HUGE. Sing into a straw in a cup of water, so that the sound is focused at the front of the bubbles. It helps practice constant airflow. Hum with the tongue between the lips, concentrating on the vibration of the vocal folds while letting go of tensions. “You learn to sing by singing.” Place your singers according to what will be healthy for them. Bio: DR. STEVEN KRONAUER, a highly experienced voice teacher, tenor, and conductor, is the conductor of Los Angeles Children’s Chorus’ Young Men’s Ensemble, comprised of young men with changing voices. After completing two Master’s degrees at the University of Michigan, one in Voice Performance and the other in Choral Conducting, Dr. Kronauer began his professional career in the chorus of the Bavarian State Opera in Munich, Germany, as its youngest member ever.  During his ten-year engagement, he had the privilege of meeting and studying with many noted singers of the highest echelon, including world famous Verdi tenor Dennis O’Neill and Wagnerian baritone Donald MacIntyre.  Dr. Kronauer was employed as a soloist with the Bavarian State Opera for television broadcasts, CD recordings, and live radio performances, appearing with Renee Fleming, Kurt Moll, and many others, in secondary tenor roles.  Dr. Kronauer performed the role of Smy in a world premiere of the German opera Peter Pan, by Willfried Hiller, directed by the world famous stage director August Everding.  This performance was recorded at the Prinz-Regenten Theatre in Munich, Germany, and distributed by Deutche Gramaphone. Dr. Kronauer has studied oratorio with the finest of the field, including Ernst Haefliger and Peter Schreier, in Germany (while being a guest observer as a conductor at the Deutche Stats Oper in Berlin, Germany). He also studied with tenor John McCollum in the United States. Since then, he established a career in Europe singing oratorio under such noted conductors as Karl Anton Richenbacher and Peter Schneider.  Additionally, Dr. Kronauer has sung as a soloist at the Cologne Philharmonic, and with the Munich Philharmonic in Germany. He has sung more than 100 performances of Carmina Burana, internationally.  Dr. Kronauer’s interest in opera conducting was enhanced upon becoming acquainted with Zubin Mehta and Wolfgang Sawalisch at the Munich Opera.  Dr. Kronauer is a soloist with many organizations since his return from Europe, including a frequent guest with the Angeles Chorale and the National Children’s Chorus, here in Los Angeles. Dr. Kronauer completed his doctorate degree at the University of California, Los Angeles in choral conducting and operatic conducting under the direction of Donald Neuen and William Vendice, respectively.  He has worked with Donald Neuen as an assistant conductor with the UCLA Chorale and with Maestro Vendice as the assistant conductor of the UCLA Opera. Previously, The University of Michigan offered Dr. Kronauer the opportunity of completing two Masters Degrees in Vocal Performance (under Lorna Haywood and John McCollum) and Choral Conducting (under Theodore Morrison).  There, he was the Assistant Conductor for Jerry Blackstone and the University of Michigan Men’s Glee Club.   He has also led a choral workshop at the University of Munich.  Dr. Kronauer’s expertise focused on performance practice of American and British chorale music.  While in Munich he formed The Munich Opera Chamber Chorus, which sang some of the great chamber music of the Germanic tradition, including the complete Liebeslieder waltzes. Dr. Kronauer has taught on the voice faculty of the Interlochen Arts Camp and at the University of California, Irvine.  He also had the honor of presenting a lecture to the National Association of Teacher’s of Singing on the “Dos and Don’ts of Starting a Singing Career in Germany.” Dr. Kronauer taught for three years as a member of the voice faculty, and the music director of the opera program at California State University, Los Angeles, conducting fully staged performances of Hansel and Gretel by Humperdinck and L’incornatione di Poppea, by Monteverdi.  Dr. Kronauer was the Acting Chair of the voice department of the University of California, Santa Barbara for two years and the director of opera activities producing. Currently Dr. Kronauer has a busy private voice studio and is on the faculty of California State University, Long Beach at the Bob Cole Conservatory of Music teaching voice and German diction. Resources/links Mentioned: LA Children’s Chorus Vocal Wisdom Choir Nation group on Facebook Patreon - Support the podcast! Sponsored by: Sight Reading Factory (Use promo code “NINJA” at checkout for 10 free student accounts!) My Music Folders (Use promo code “NINJA” at checkout for “last column” or best pricing - usually reserved for bulk purchases only!)