Podcasts about bavarian state opera

Studio Soundtracks takes listeners behind the scenes of how music is crafted for film and television by hearing directly from composers, songwriters and music professionals in the Entertainment Industry. Listen to inspiring conversations about composition and hear works from Emmy, Grammy, and Oscar-winning film scores on the show. LORENZ DANGEL Classically trained in composition, Lorenz Dangel is a multi-award-winning composer renowned for his versatility, creating music for film, concert performances, and ballet. After the early success of his score to Tim Fehlbaum's thriller “Hell”, he showcased his stylistic range in movies of different genres, among them “A Fortunate Man” by Bille August, “Me and Kaminski” by Wolfgang Becker and the epic family drama “Dying” by Matthias Glasner for which he won his third German Film Prize for Best Music. Dangel's latest project sees him reunite with director Tim Fehlbaum for the upcoming historic thriller “September 5.” His collaboration with the choreographer Andrey Kaydanovskiy led to the creation of the orchestral ballet music “The Snowstorm” at the Bavarian State Opera in Munich. The summer of 2024 saw the premiere of PHON, brought to life by Sir Simon Rattle and a monumental orchestra, uniting the BR Symphonieorchester with four brass ensembles. The joy of finding the right musical approach for each project using the entire world of sound not only inspires Lorenz in the process of creation but also defines him. ROBIN CAROLAN Robin Carolan is a British-Irish composer and music producer whose distinct artistic voice has gained prominence in both the music and film industries. His recently scored the highly anticipated Robert Eggers film Nosferatu, set to release in theaters December 2024 “From the get-go, it was important to me that I not just write something you'd solely think of as a ‘horror score',” Carolan explains about his Nosferatu score. “I wanted to really lean into the melancholy, tragic aspect of the tale, and even make room for something akin to romance, albeit a very warped kind of romanticism.” Carolan intentionally moved beyond the typical horror score, focusing on capturing the tale's melancholy and tragic elements while weaving in a sense of warped romanticism. The score for Nosferatu features a vast orchestration, including 60 string players, a full choir, various horns and woodwinds, a harpist, and two percussionists. The orchestral richness brings a profound depth to the score. Carolan first garnered attention as the founder of Tri Angle, an independent music label launched in 2010, which became synonymous with innovative and critically acclaimed releases, particularly in the electronic music realm. Carolan's collaborations with artists like Björk, where he was recognized as “the fifth ear” on her 2017 album Utopia, further cemented his reputation as a versatile and influential figure in contemporary music. His film scoring debut came with Robert Eggers' The Northman in 2022, a project that required him to craft a soundscape reflecting the film's brutal and atmospheric narrative. The meticulous attention to detail is a hallmark of the collaborative process between Eggers and Carolan, one that can be described as almost telepathic. The result is music that not only complements the film but also stands on its own as a testament to Carolan's artistry and the enduring power of collaboration.

Daniele Rustioni is a major presence at leading opera houses and symphony halls. In 2022, the International Opera Awards named him “Best Conductor.” His opera repertoire numbers over 70 works spanning over centuries and ranging from Italian to French, German to Russian, and more. This coming season he concludes his eight-year tenure as music director of Opéra National de Lyon.   He was principal guest conductor of the Bavarian State Opera until October 2023.Daniele has led performances at the nearly all of the most important international opera houses and festivals, including Aix-en-Provence Festival, BBC Proms, Berlin State Opera, Dutch National Opera, Paris Opera, Royal Opera House Covent Garden, Salzburg Festival, Teatro Real, Zurich Opera House and the Teatro alla Scala. In Italy, his homeland, he has also conducted at Opera di Roma, Teatro del Maggio Musicale Fiorentino (Florence), Teatro La Fenice (Venice), Rossini Opera Festival (Pesaro) and Teatro San Carlo (Naples).He was recently named principal guest conductor at the Metropolitan Opera, and as we spoke, he was preparing his debut concerts with the New York Philharmonic.  

American tenor, Bryan Register, has received great critical acclaim for his portrayal of roles including Tristan, Lohengrin and Enée, and has performed in many of the most prestigious theatres in Europe including, the Bavarian State Opera, the Semperoper Dresden, Festspielhaus Baden-Baden, The Opéra Bastille and La Monnaie. In the 2022/23 season he sang Verdi's Otello with the Taipei Symphony Orchestra under the baton of Marco Boemi, and returned to the roles of Florestan in Fidelio at the Nationale Reisopera in the Netherlands, as well as Tristan in the new production at Cottbus State Theater and in a concert performance with the Orquesta Sinfónica de Xalapa in Mexico. Also in the upcoming season 2023/24, he will be singing the male titular lead in Tristan und Isolde, this time at the Aalto Theater in Essen. Amongst others, he will also appear as Parsifal with the Orquesta y Coro Nacionales de España under the baton of David Afkham and as Erik in Der Fliegende Holländer at Pittsburgh Opera. My gratitude goes out to Hannah Boissonneault who edits our Masterclass episodes and to Juanitos and Scott Holmes for the music featured in this episode. You can help support the creation of these episodes when you join the Sybaritic Camerata on Patreon. Get started at patreon.com/mezzoihnen. Be on the Studio Class Podcast Megan Ihnen is a professional mezzo-soprano, teacher, writer, and arts entrepreneur who is passionate about helping other musicians and creative professionals live their best lives. Studio Class is an outgrowth of her popular #29DaystoDiva series from The Sybaritic Singer. Let your emerging professionals be part of the podcast! Invite Megan to your studio class for a taping of an episode. Your students ask questions and informative, fun conversation ensues. Special Guest: Bryan Register.

A much loved baritone from New Zealand, Teddy Tahu Rhodes has captured the hearts of audiences here in Australia and in many parts of the world. An ARIA, Helpmann, and Limelight award-winner, he has given renowned performances in classics such as Don Giovanni and Carmen, and premiere performances in new works including The End of the Affair and Dead Man Walking. He's performed for Opera Australia, the Metropolitan Opera, the Welsh National Opera and the Bavarian State Opera to name just a few, and regularly sings in concert. Limelight magazine said of his voice “there is a velvet richness, a great resonance, and a touching sense of fragility." Teddy takes us through his evolution as a singer, from boy soprano to opera star, and getting through his uncertainty and unwillingness in grasping his first big break. Teddy Tahu Rhodes performs Mendelssohn's Elijah with the Sydney Philharmonia Choirs under the artistic direction of Brett Weymark at the Concert Hall of the Sydney Opera House on 18 May. He then performs in La Rondine for the Victorian Opera from 8-10 August, and then returns to the role of Scarpia for performances of Tosca with the Wellington Opera, from the 11-15 September.

Join us in Episode 34 of The Horn Call Podcast for a conversation with Pascal Deuber, Principal Horn in the Bavarian State Orchestra at the Bavarian State Opera, and First Prize winner in the 2021 ARD Competition. Episode Highlights Current performing positions, rehearsal schedules Musical education/training Preparing for the ARD competition, advice for other horn players who want to compete Favorite pieces to play Interests outside of horn playing Listen to Pascal perform Strauss's Horn Concerto No. 2 in the 2021 ARD Competition: https://www.youtube.com/watch?v=yYQMBU9KY9w Munich Opera Horns: https://www.staatsoper.de/en/septemberfest-2022-bios/munich-opera-horns

  Hot on the heels of The Dance, Pat Collins' masterful documentary on the same subject, Episode Five of We Are The Makers takes a deep-dive into the making of a contemporary theatrical masterpiece, Mám, by choreographer Michael Keegan-Dolan, which premiered at the Dublin Theatre Festival in 2019.   Our host Dónal Dineen travels to the West Kerry home of Keegan-Dolan's company Teac Damsa (house of dance or a place for dancing) and the base for both the production and the origin of the story itself. ‘Mám is abstract and instinctive… it effectively plays out a story of modernity intruding on traditional life' (the Guardian).   This episode traces the acclaimed choreographer's singular creative journey on a passion project which has intricately woven classical music with contemporary dance practice into the rich tapestry of traditional culture out of which it emerges. We hear in detail about how the unique musical collaboration at the heart of the production between West Kerry concertina player Cormac Begley and Berlin classical collective Stargaze, evolved and achieved concord under Keegan-Dolan's hand. We discover the origins of his belief in dance as the art of transformation and the evolution of his practice to this point of true expression.   The investigation is timely as Mám is set to return to the Irish stage for an autumn tour. The production was universally praised upon its debut at the 2019  Dublin Theatre Festival and has since been rapturously received at both Madrid's Teatros Del Canal and Sadler's Wells in London. A graduate of the Central Ballet School in London, Keegan-Dolan has overseen productions at the English National Opera, The National Theatre in London and the Bavarian State Opera as well as a string of ground-breaking shows as artistic director of the Fabulous Beast Dance Theatre.   Find Pat Collins' film The Dance here: https://www.volta.ie/#!/browse/film/134638/the-dance   https://teacdamsa.com/   https://www.cormacbegley.com/   https://we-are-stargaze.com/   https://harvestfilms.ie/   We Are The Makers is written and presented by Irish broadcaster Dónal Dineen and produced by Ian Cudmore. Original music by Ultan O'Brien. Commissioned by Solas Nua in Washington, D.C., bringing contemporary Irish art to U.S. audiences.   Photo by Ros Kavanagh. Kindly supported by Culture Ireland.   ///  

This episode of An Honest Look features Golda Schultz, a soprano who made her professional start at the Bavarian State Opera and has gone on to become a regular presence at leading houses on both sides of the pond. She spoke about moving beyond the concept of perfection; growing up in South Africa; the characters who most inspire her; and more. *2:00 – [musical excerpt: “Ach Ich fühl's” from Mozart's Die Zauberflöte] – making her breakthrough at the Salzburg Festival *5:29– living in the land of Mozart (the father) and RichardStrauss*9:53– the history of Golda's hometown, Bophuthatswana, and what it means to be South African*13:35– [musical excerpt: “Summertime” from Gershwin's Porgy and Bess] – her first encounter with opera and vocal studies*16:33– picking and choosing characters This interview was originally conducted for the New York PhilharmonicMusical excerpts provided courtesy of the Metropolitan OperaIntro and outro composed by Miguel Kertsman

In this episode, I talk to Mirko Borsche, a creative director, graphic designer, and founder of Bureau Borsche. We cover topics such as his work routines and his studio’s culture, challenges Mirko encountered along the way, advice for young designers, the importance of long-term thinking, art direction, and much more.BiographyMirko Borsche’s career has spanned between work in corporate advertising and progressive cultural design. One time art director for the Mini Group in BMW, he also launched the hugely successful youth magazine NEON in Germany in the ’00s and has tenure as creative director at Die Zeit, a German national weekly newspaper. Mirko received numerous national and international awards for his work. Amongst many national exhibitions, his work was exhibited in Amsterdam, Barcelona, Florence, Stockholm, Seoul and Tokyo.In 2007 he founded his design studio Bureau Borsche in Munich, Germany. Renowned for its creative versatility, they offer design and communication consultancy for clients from all fields of interest and delve deep into the creative process to produce original works within the scope of art, subculture, and design. They’ve worked with clients that include Nike, Bavarian State Opera, Audi, BMW Group, Harper’s Bazaar, Supreme, Apple, Balenciaga, Rimowa and Inter Milano, just to name a few.Selected Links From the EpisodeMirko Borsche’s InstagramBureau Borsche’s InstagramBureau Borsche’s WebsiteLOOMITDie ZeitBavarian State OperaShow NotesIntroduction [00:00:00]Episode Introduction [00:00:50]Career Advice and Tips for Young Designers [00:03:02]Work Routines of a Creative Director in a Design Studio [00:12:53]Challenges of Running an Independent Design Studio [00:21:49]Short Episode Break – Support the Podcast [00:33:45]What Does an Art Director Do? [00:34:29]On Longevity and Long-Term Career Planning [00:42:48]How to Be a Better Creative Professional [00:48:08]Episode Outro [00:49:39]Full transcript and more at https://creative.voyage/

Jennifer Johnston has just appeared, as Waltraute, on the new BR-Klassik recording of Wagner's Die Walküre conducted by Sir Simon Rattle. She talks to James Jolly about her decade-long association with the Bavarian State Opera and its Generalmusikdirektor, Kirill Petrenko; about music in her home city of Liverpool; and memories of Christa Ludwig with whom she studied as a student. Gramophone Podcasts are presented in association with Wigmore Hall.

Die Meistersinger von Nürnberg (The Master-Singers of Nuremberg), WWV 96, is a music drama (or opera) in three acts, written and composed by Richard Wagner. It is among the longest operas commonly performed, usually taking around four and a half hours. It was first performed at the National Theatre Munich, today the home of the Bavarian State Opera, in Munich, on 21 June 1868. The conductor at the premiere was Hans von Bülow. Purchase the music (without talk) for only $2.99 at: http://www.classicalsavings.com/store/p1106/Wagner%3A_Die_Meistersinger_von_N%C3%BCrnberg_%28The_Master-Singers_of_Nuremberg%29%2C_WWV_96.html Your purchase helps to support our show! Classical Music Discoveries is sponsored by La Musica International Chamber Music Festival and Uber. @khedgecock #ClassicalMusicDiscoveries #KeepClassicalMusicAlive #LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans #CMDGermanOperaCompanyofBerlin #CMDGrandOperaCompanyofBarcelonaSpain #ClassicalMusicLivesOn #Uber Please consider supporting our show, thank you! http://www.classicalsavings.com/donate.html staff@classicalmusicdiscoveries.com

Imagine finding your voice...in an opera house! On Sing LOUDER, host Jake Heggie talks with great artists about the high wire act of life an opera singer. Brandon Jovanovich is one of the rarest types of tenor – the heldentenor or “heroic tenor” – and sings some of the most physically and vocally demanding roles in the entire operatic repertoire. In this episode, he shares about his existential journey from bass to powerhouse tenor...and from waiting tables at Metropolitan Opera parties to starring on its stage. You can find Brandon at brandonjovanovich.com and @operabrandon on Instagram. Featured Music: Jake Heggie: “Some Times of Day” from The Best Time of the Day Giacomo Puccini: “Ch’ella mi creda” from La Fanciulla del West, with the Bavarian State Opera, led by James Gaffigan Hector Berlioz: ”Nuit d’Ivresse" from Act IV of Les Troyens (The Trojans), performed with Ekaterina Semenchuk and the Paris Bastille Opera, led by Philippe Jordan Giacomo Puccini: “Manon Lescaut” with the Orchestra and Chorus of La Monnaie, led by Carlo Rizzi Richard Wagner: “Winterstürme” from Die Walküre, at the San Francisco Opera, led by Donald Runnicles Jonathan Barlow: “Cinder” Producer: Emily Shaw Mixing & Remote Recording Assistance: Seira McCarthy Additional Recording: George S. Rosenthal (The Complex Recording Studio) Executive Producer: Bob Ellis Photo by Cara Jovanovich Sing LOUDER is supported by a non-profit LLC promoting public education about the art of singing. Special thanks to the San Francisco Conservatory of Music.

In this episode, I talk with animator James Kerr about getting the most out of your personal archives, how to use social media to collaborate with your favourite artists and the GIF-Renaissance happening around the time of his Scorpion Dagger project in 2012EPISODE NOTES:Giotto di Bondone https://en.wikipedia.org/wiki/GiottoLibrary of congress - https://www.loc.gov/free-to-use/Pixabay - https://pixabay.com/Do You Like Relaxing? - https://www.anteism.com/shop/scorpion-dagger-do-you-like-relaxing-limitedScorpion Dagger on Tumblr - https://scorpiondagger.tumblr.com/Fine art museum in Montreal - (AR catalogues guides) - https://www.mbam.qc.ca/en/Ante-ism - https://www.anteism.com/about-newThe Verge - Our favorite remixed Renaissance paintings are now a book of animated GIFs - https://www.theverge.com/2014/9/11/6135467/james-kerr-scorpion-dagger-animations-now-an-augmented-reality-bookBureau Borsche and James Kerr give the Bavarian State Opera a new look (and it's wild) https://www.itsnicethat.com/articles/bureau-borsche-james-kerr-bavarian-state-opera-graphic-design-110919Artivive https://artivive.com/Gucci #24HourAce | James Kerr - https://www.youtube.com/watch?v=jLpxe9wFmW0New York Times- TECH GOLIATHS ACT LIKE DAVIDS - https://www.nytimes.com/2020/06/22/technology/big-tech-underdogs.htmlNew York Times- To Tweet is Human, To Delete is Divinehttps://www.nytimes.com/2017/02/24/opinion/sunday/to-tweet-is-human-to-delete-divine.htmlGIPHY.com - https://giphy.com/explore/scorpion-dagger

[@ 5 min] Wonder why all classical composers seem to be dead white men? Wonder where all the women are? Oliver goes ‘Inside the Huddle’ with a champion of gender equality in classical music: Elizabeth de Brito, the producer and host of England’s The Daffodil Perspective… [@ 32 min] We dip into the ‘Listener Mailbag’ to discover Oliver, Matt, and Ashlee’s Fantasy League picks for a dinner party… [@ 54 min] In the ‘Two Minute Drill’, experience the mask-wearing, physically-distanced audience at Munich’s Bavarian State Opera, and take a trip to Greece with Ashley… www.facebook.com/obschi1 www.operaboxscore.com @operaboxscore

Episode 2, 2020: Bartók’s Violin Concerto Wednesday 3 June 2020 The 1930s sees the Hungarian composer Béla Bartók at the height of his career as he produced succeeding masterpieces exhibiting strict counterpoints and new sounds. That is why the Violin Concerto he wrote for his close associate, violin virtuoso Zoltán Székely was seen as a step backwards by some as Bartók had to relent to Székely’s request to stick to a more traditional three-movement composition. ANAM Music Librarian Phil Lambert thinks otherwise and revisits this Bartók masterpiece performed by ANAM alumnus Johnny van Gend (violin 2019) at the 2019 ANAM Concerto Competition. Hear Phil and Johnny chat about the great Hungarian composer and the grand ending of the Violin Concerto which again showed Bartók accommodating Székely’s wishes to have the spotlight on the violinist at the end of the performance. Johnny was the winner of ANAM’s 2019 Concerto Competition that was held in Hobart with the Tasmanian Symphony Orchestra. The music you will hear is from his Melbourne performance where he performed the piece with Peter de Jager on piano. Johnny was also the inaugural recipient of the ANAM position in the Bavarian State Opera’s Orchestra Academy in Munich, Germany. To watch the video recording of Johnny's full performance, visit https://www.youtube.com/watch?v=1thGovmLg64&feature=youtu.be

Jakob Spahn: the young Solo cellist of the Bavarian State Opera, the Zlatan of the cello. He has won awards and travelled the world sharing his music and now he is a welcome guest in Master in Music. Jakob is smart, charming and creative. With his new CD recording of Gulda cello concerto, he brings classical music to the next technical level with a innovative 3D recording. He tells us how an app is on the way where you can zoom in and listen closer to the different instruments in the orchestra, and as you zoom the sound of that instrument gets louder. Pretty awesome! In this episode he also gives us his best advice in how to win an orchestra audition, what the difference is between winning that job or not. If you want to learn more from Jakob apply for this year’s masterclass in audition training at Rutesheim Cello Akademie, the highlight of the autumn. You also have the chance to win his new CD with his autograph by sharing the post of this episode on Facebook and tagging a friend that should listen to the episode. You find the post on Master in Music the facebook page. Now I wish you all a fantastic day. Cello-Akademie-Rutesheim.de Tchaikovsky & Gulda: Cello Concertos - Apple Music Tchaikovsky & Gulda: Cello Concertos - Spotify Jakob Spahn - Bayerische Staatsoper

Opera America has released its list of the 25 most performed operas in the US during the 2017-2018 season. The OBS jerks take a deep dive into the rankings to see if there are any surprises... The Bavarian State Opera's recently-announced 2019-2020 season becomes the first international house to go under the microscope that is the Dodson Scale™. Find out where the company ranks alongside its Yankee counterparts... Plus, in the ‘Two Minute Drill’, get advice on playing Mozart to your manchego... operaboxscore.com/thisweeksshow @operaboxscore

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!)

Director Amy Stebbins and composer Hauke Berheide join George ‘Inside the Huddle’ tonight. They’ve just returned to the US after a year in Germany, where projects included the world premiere of their opera ‘Mauerschau’ at the Bavarian State Opera. We talk about that production in the context of the larger German opera system... Then, Oliver joins us for a ‘Chalk Talk’ double header: Lyric Opera of Chicago has announced its 2017-2018 season. You get each of our hot takes on the repertoire, the artists and the reasons behind Lyric’s decisions... Plus, at the end of the show, don’t miss Oliver’s tribute to tenor Nicolai Gedda, who died earlier this week... @operaboxscore #operaballs

Seventy-five years ago nearly 34,000 Jews were murdered at Babyn Yar over a two-day period on September 29th and 30th 1941. The location has become a poignant symbol of what is known as The Holocaust by Bullets. Some 1.5 million Jews were shot to death on the territory of what is now Ukraine in this particular aspect of the Holocaust.The Ukrainian Jewish Encounter, or UJE, presented a very much-anticipated program commemorating this 75th anniversary of Babyn Yar.The program, held in Kyiv from September 23rd to 29th this year, featured four distinct projects. There was a public symposium, which included the introduction of a groundbreaking book on Babyn Yar; a student conference; a landscape design competition; and a memorial concert.The effort took years of planning and was widely applauded both in Ukraine and abroad. The UJE worked with the World Jewish Congress, Ukraine’s government, and other Ukrainian Jewish and diaspora organizations to plan and present its program.UJE board member Paul Robert Magocsi, who along with his colleague Adrian Karatnycky spearheaded the program, noted, “Our goal was to turn the attention of Ukrainians and the world community to Babyn Yar and to show it is a very important symbol of a mass tragedy of the 20th century,”A special feature of the public symposium was the presentation of the newly published book Babyn Yar: History and Memory. The book, published both in English and Ukrainian, presents essays written by ten authors, including several symposium participants. They looked at the treatment of Babyn Yar in art, culture, and literature.Dr. Vladislav Hrynevych, who co-edited the book with Dr. Magocsi, said, “This book is not about death but about life, and about the battle for memory about Babyn Yar. It also raises the question of what is the future of Babyn Yar. How is it to be organized?”Nearly two hundred young people from all over the world attended the youth conference. The conference coordinator, Dr. Ihor Shchupak of Dnipro’s Tkumah Institute for Holocaust Studies, said. “We were able to get away from national egoism. We remembered that our country was touched by three genocides: the Holodomor, the Holocaust, and the deportation of Crimean Tatars. We also talked about the Holocaust against the backdrop of the contemporary Russian-Ukrainian war. We understood there is no such thing as someone else's pain.”Another highlight of the week was the presentation of winning entries of an international landscape competition sponsored by the UJE as a first step in the expected creation of a necropolis at Babyn Yar.There was no first-place award as the jury did not feel any of the entries fulfilled all its requirements. However, Vitaliy Nakhmanovych, one of Ukraine’s leading Babyn Yar historians who oversaw the competition, said the two second-place winners and a third-place winner provided a promising foundation for the creation of a memorial park at Babyn Yar.The UJE board chairman James C. Temerty presented the competition winners with awards.The commemorative week concluded with a memorial concert, which featured the Hamburg Symphony Orchestra, the renowned Ukrainian Dumka Chorus, and international opera stars, including Pavlo Hunka of England. Ukraine native Oksana Lyniv, who currently works with the Bavarian State Opera in Munich, was conductor and the opera director Annechien Koerselman of the Netherlands staged the powerful performance.Approximately 160 people were involved in the performances of Max Bruch’s prayful Kol Nidrei; the Kaddish-Requiem by Yevhen Stankovych, based on the poems of the Ukrainian writer Dmytro Pavlychko; and A German Requiem by Johannes Brahms.Amidst all these events, one distinguished visitor to Kyiv was World Jewish Congress... See acast.com/privacy for privacy and opt-out information.

Oksana Lyniv is an up-and-coming star on the classical music scene.She is a Ukrainian conductor currently working at the Bavarian State Opera as assistant to the General Music Director Kirill Petrenko.On September 29, 2016, she will make her debut in Ukraine, conducting a classical concert that will be held at the Kyiv Opera House, under the directorship of British opera star Pavlo Hunka.The concert is part of the 75th Anniversary commemoration of the Babyn Yar tragedy, sponsored by the Ukrainian Jewish Encounter of Toronto.In 1941, the Nazis murdered some 150,000 people, including over 32,000 Jews. The massacre at Babyn Yar is considered one of the most heinous atrocities of the Holocaust.The concert will feature classical musicians from Ukraine, Israel, Canada and Great Britain, and a symphony orchestra from Germany.Ms. Lyniv took time from her hectic schedule of rehearsals for an interview on Nash Holos to tell us about herself, her career, and the upcoming concert.This is a feature interview. Transcript is available below. Enjoy!*************Pawlina: I am Pawlina, host of Nash Holos Ukrainian roots radio. This fall the 75th Anniversary of the Babyn Yar tragedy will be commemorated in Kyiv, on the initiative of the Ukrainian Jewish encounter.One of the events will be a classical concert, organised and directed by inaudible opera star Pavlo Hunka of London England. And Oksana Lyniv will be playing a leading role as well, as conductor of the orchestra. Oksana is something of a sensation herself, and she joins us now by Skype, to tell us a biy about herself and maybe give us a sneak preview of the concert where she shall be conducting.So Oksana welcome, вітаю!Oksana: Hello, hello, hello!Pawlina: Now, you were born yourself, to musical parents, so a musical career for you, is no great surprise. You play several instruments yourself right? Piano, flute...Oksana: Piano, flute, violin a little bit. Also I like to sing also yes. I was also surprised that in the end I changed my profession to conducting.Pawlina: I was going to ask you that. What made you decide to change?Oksana: The question that was in my special musical college, I started in Lviv, then I was from, my 14 years to 18 years. At the end we had a concert where I had to conduct the student orchestra. After this concert I got this idea from different people to start my professional career only as conducting. I was, on the first moment I was very surprised, but after I thought, yes, maybe this is really where I can put together all of my musical talents, and all the things that I would like to do together, you know? Because as conductor you need to have a special touch to all the things … to instruments, to soloists, to choirs, to all things.Pawlina: So you really, obviously, love music and you just wanted to be in charge?Oksana: Yes and you have to put … to organise, to manage all the things together. And this is very interesting, because when you are conducting the opera you have to become the steering also for staging … also for optic things, you know? And this is very interesting to create this dramatical line, to perform this big performance and I saw it was really something for me.Pawlina: So, as a female conductor, you are something of a novelty in a male dominated field. Do you encounter any difficulties or special challenges because of your gender?Oksana: Yes. In the beginning you always had more difficulties because, you have to put through it in your career, not only like young conductor but also like a young cond... See acast.com/privacy for privacy and opt-out information.

British-Ukrainian opera star Pavlo Hunka is the Director of a classical concert to be held on September 29, 2016 at the Opera House in Kyiv.The concert is part of the 75th Anniversary commemoration of the Babyn Yar tragedy, sponsored by the Ukrainian Jewish Encounter of Toronto.In 1941, the Nazis murdered some 150,000 people, including over 32,000 Jews. The massacre at Babyn Yar is considered one of the most heinous atrocities of the Holocaust, and has come to symbolize Nazi brutality.This commemorative concert will feature classical musicians from Ukraine, Israel, Canada and Great Britain, and a symphony orchestra from Germany. The conductor of the orchestra will be Oksana Lyniv of Ukraine.The concert will include a cameo performance by Mr. Hunka, who took time from his hectic schedule of rehearsals for an interview on Nash Holos.We spoke about the upcoming concert, his career, and his Ukrainian Art Song project, showcasing Ukrainian classical music.Pawlina: The 75th anniversary of the [foreign] tragedy will be commemorated in K of this fall. Late September to be exact. One of the events will be a concert which you are organizing and producing. How did you come to be the orchestrator so to speak of this event?Pavlo Hunka: I was approached by members of the board of the Ukrainian Jewish encounter to see whether I could pull together a program first and foremost and then I suggested to them that as I had access to pretty well all of the great musicians of the world because I worked with many of them. Maybe we could pull together a fantastic cast and they gave me the opportunity to approach some big orchestras for example. Not just to use Ukrainian strengths, and to cut a long story short, we have engaged the Hamburg symphony orchestra to go to Ukraine for the 29th of September when the concert will be. Together we've the soloist, that's Benjamin Butterfield, who's from your neck of the woods, he's from Victoria and I asked Ben because he sings the Ukrainian so wonderfully. He’s part of the Ukrainian Art Song project. And then there's Gwal James, she's Israeli, living in Berlin to sing and then myself as well. Conductor will be Oksana Lyniv, she's a young Ukrainian conductor from Western Ukraine, who is now deputy artistic director of the Bavarian State Opera in Munich, in Germany. And finally, the Dumka national chorus. We thought that we did include one element of a big Ukrainian group if you like particularly because I choose as a second piece of the concert, Yevhen Stankovych’s Kaddish-Requiem. The program opens up with Max Bruch’s “Kol Nidrei”, which is like an evening prayer at Yom Kippur New Year Jewish prayer and then it goes into the Kaddish-Requiem by Yevhen Stankovych, which is a contemporary piece, which tells the story of Babyn Yar. I chose it because it's not really a requiem, it's really just a sort of statement or fact if you like. And then that takes us to the interval and after the interval is a Brahms requiem, which is also not really a requiem, it's a spiritual work, which doesn't really talk about any particular faith but it talks really about spirituality. So it's sort of a journey from prayer to fact, to hope and I thought that was so it would be sort of quite appropriate to choice that type of program, which it moves into the positive.Pawlina: Yes that's what this whole commemoration event is all about, isn't it, it's to acknowledge and commemorate the past but there is so much good stuff that's going on in Ukraine right now in particular with Ukrainian Jewish encounter. You had a long and successful career as an opera singer. This project is casting you in a different role kind of behind the scenes, or you said you will be singing as well?Pavlo Hunka: Yeah well I've done, on a smaller scale I've done things like this over some years in the sense that I finally... See acast.com/privacy for privacy and opt-out information.

It’s the third and final installment of our three-part series introducing you to the opera world of Germany. Last week, George took you around Germany’s smaller houses. Today he started in Heidelberg and ended up in Munich... George's first guest is Lydia Steier, an American director based in Germany. She's currently directing Wagner's 'Der Fliegende Holländer'. You’ll hear her take on why she came to Germany to work, and whether or not she wants to go home to the US... Later on, George is joined by Amy Stebbins, an American director currently working on a new project at the Bavarian State Opera. She’s got a great take on the future of opera in Germany... We’ve also got this week’s opera headlines, our Monday Evening Quarterback segment, and Oliver checks in from Chicago with a field report...

The Wittelsbach dynasty ruled Bavaria for more than 700 years. Until 1918, Munich was home to the royal family. The influence their passion for architecture and for art had on the city is still visible to this day.