Podcasts about berlin state opera

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.  

We recorded a live episode at the iconic Berlin State Opera Unter den Linden, as we delved into the world of opera and culture with Anja Gossens, the Head of Development of the institution. The Berlin State Opera holds a rich cultural heritage, dating back to its founding in the 18th century. Seated in the heart of Berlin, this institution has been a beacon of artistic excellence, captivating audiences with its breathtaking performances for centuries.Anja is a trailblazer in the world of arts and culture. With a background in art and theater studies, Anja brings a wealth of experience to her role as Head of Development at the Berlin State Opera. Her passion for innovation and her dedication to making opera accessible to all have been instrumental in shaping the future of this esteemed institution. Throughout our conversation with Anja, we'll depict the intersection of art, culture, and society.Whether you're a seasoned opera enthusiast or someone curious about the transformative power of the arts, make sure to share the episode with a friend and see if they enjoy it too!Read more about the Women Authors of Achievement (WAA) Podcast via https://waa.berlin/infoFollow us on Instagram & find us on LinkedInSubscribe to our newsletter via https://waa.berlin/newsletter ★ Support this podcast on Patreon ★

As his new recordings with the Vienna Philharmonic Orchestra of the complete symphonies of Anton Bruckner - all eleven of them - hit the record stores, Tom Service speaks to the German conductor Christian Thielemann. He tells Tom about what had, for him, been a burning desire to embark on the journey to record all of the composer's symphonies, as well as the consolations of working with one of the world's greatest orchestras. Thielemann shares his vision, too, for audiences in the German capital following the recent news he'll succeed Daniel Barenboim as the General Music Director of the Berlin State Opera. With preparations well underway for this year's London Jazz Festival, Tom catches-up with the ‘Queen of African Music' - Angélique Kidjo. She describes her first encounter with Beethoven among the vinyl records of classical music her father had collected before the disruption of Benin's dictatorships, and speaks about her escape to Paris in the 1980s, as well as the joyous spirit of defiance and power of music in the conflicts she's witnessed in Sudan and Uganda. And as ensembles around the country gear up for the finals of this year's National Brass Band Championships, Music Matters eavesdrops on the preparatory rehearsals of last year's winner's, Foden's Brass Band. With contributions from principal cornet, Mark Wilkinson, principal trombone and Chairman, John Barber, flugel horn player, Melanie Whyle, and conductor, Russell Gray, Tom also speaks to the composer of this year's test piece, Edward Gregson, about his ‘Of Men and Mountains', which will be performed by twenty bands at this year's championships.

With his last-minute stand-in in the acclaimed new production of Salome at the Berlin State Opera, Thomas Guggeis caused a sensation internationally.  As Staatskapellmeister of the Staatsoper Berlin since 2020/21 has conducted, or is due to conduct, Falstaff, Lohengrin, Samson et Dalila, Hansel and Gretel, Don Giovanni, Jenufa, The Merry Wives of Windsor and Elektra.  His debut at the Vienna State Opera were Salome and Die tote Stadt.  He will soon give symphony concerts around the world, including with members of the Berliner Philharmoniker.From 2018-2020, as Kapellmeister at the Stuttgart State Opera, he had already performed works such as La Bohème, Il barbiere di Siviglia, Madama Butterfly, Der Prinz von Homburg and Der Freischütz.

Daniel Barenboim has been conductor of the Orchestra of Paris and musical director of the Chicago Symphony Orchestra, as well as the Berlin State Opera, a position he held for three decades. Along with the Palestinian-American intellectual Edward Said, Barenboim created the West-Eastern Divan Orchestra, bringing together young musicians from the Middle East, especially Israel and the Arab world. Speaking to Eleanor Wachtel from Milan in 2008, he talked about the orchestra's historic 2005 concert in Ramallah, growing up on Bach and the meaning of music in his life. This episode originally aired on Wachtel on the Arts on IDEAS in 2008.

Born in Melrose, Massachusetts in 1882, to Henrietta Barnes and the professional baseball player, Sidney Farrar (who played in the MLB out of Philadelphia from 1883-90), Geraldine Farrar would go on to become one of the great American sopranos who also appeared in over a dozen films during the period of 1915-20. These included Cecil B. De Mille's 1915 adaptation of Georges Bizet's Carmen, as well as the role of Joan of Arc in the 1917 film, Joan the Woman. Possessing a tireless work ethic which saw her give ninety-five appearances as Madama Butterfly and fifty-eight performances as Carmen, both over the span of sixteen seasons at the Metropolitan Opera Company in New York City, Farrar counted amongst her acquaintances such distinguished individuals as David Belasco, Sarah Bernhardt, Emma Calvé, Enrico Caruso, Jean de Reszke, Maurice Grau, Lilli Lehmann, Guglielmo Marconi, Jules Massenet, Nellie Melba, Lillian Nordica, King Oscar of Sweden, Camille Saint-Saëns, Emma Thursby, Arturo Toscanini, Mark Twain, Kaiser Wilhelm II and his son, the Crown Prince Wilhelm. Having sung at the Berlin State Opera, the Monte Carlo Opera and the Metropolitan Opera Company, Farrar was known for her striking physical appearance. Farrar's young, female fans were famously known in New York as “Gerry-flappers.” Early studies occurred in Boston and later in New York City with Emma Thursby. Later studies occurred in Europe with Trabadello, Francesco Graziani and Lilli Lehmann, to whom Farrar had been recommended by Lillian Nordica. Published in 1916, just prior to her marriage to the actor, Lou Tellegen, Geraldine Farrar: The Story of an American Singercovers the singer's early years up to the age of thirty-four. Years later, in 1938, she wrote another book, The Autobiography of Geraldine Farrar: Such Sweet Compulsion. Farrar recorded extensively for the Victor Talking Machine Company and made her debut radio broadcast in 1931. In Ridgefield, Connecticut in 1967, Farrar died of heart disease at the age of eighty-five.

Born in Melrose, Massachusetts in 1882, to Henrietta Barnes and the professional baseball player, Sidney Farrar (who played in the MLB out of Philadelphia from 1883-90), Geraldine Farrar would go on to become one of the great American sopranos who also appeared in over a dozen films during the period of 1915-20. These included Cecil B. De Mille's 1915 adaptation of Georges Bizet's Carmen, as well as the role of Joan of Arc in the 1917 film, Joan the Woman. Possessing a tireless work ethic which saw her give ninety-five appearances as Madama Butterfly and fifty-eight performances as Carmen, both over the span of sixteen seasons at the Metropolitan Opera Company in New York City, Farrar counted amongst her acquaintances such distinguished individuals as David Belasco, Sarah Bernhardt, Emma Calvé, Enrico Caruso, Jean de Reszke, Maurice Grau, Lilli Lehmann, Guglielmo Marconi, Jules Massenet, Nellie Melba, Lillian Nordica, King Oscar of Sweden, Camille Saint-Saëns, Emma Thursby, Arturo Toscanini, Mark Twain, Kaiser Wilhelm II and his son, the Crown Prince Wilhelm. Having sung at the Berlin State Opera, the Monte Carlo Opera and the Metropolitan Opera Company, Farrar was known for her striking physical appearance. Farrar's young, female fans were famously known in New York as “Gerry-flappers.” Early studies occurred in Boston and later in New York City with Emma Thursby. Later studies occurred in Europe with Trabadello, Francesco Graziani and Lilli Lehmann, to whom Farrar had been recommended by Lillian Nordica. Published in 1916, just prior to her marriage to the actor, Lou Tellegen, Geraldine Farrar: The Story of an American Singercovers the singer's early years up to the age of thirty-four. Years later, in 1938, she wrote another book, The Autobiography of Geraldine Farrar: Such Sweet Compulsion. Farrar recorded extensively for the Victor Talking Machine Company and made her debut radio broadcast in 1931. In Ridgefield, Connecticut in 1967, Farrar died of heart disease at the age of eighty-five.

Born in Melrose, Massachusetts in 1882, to Henrietta Barnes and the professional baseball player, Sidney Farrar (who played in the MLB out of Philadelphia from 1883-90), Geraldine Farrar would go on to become one of the great American sopranos who also appeared in over a dozen films during the period of 1915-20. These included Cecil B. De Mille's 1915 adaptation of Georges Bizet's Carmen, as well as the role of Joan of Arc in the 1917 film, Joan the Woman. Possessing a tireless work ethic which saw her give ninety-five appearances as Madama Butterfly and fifty-eight performances as Carmen, both over the span of sixteen seasons at the Metropolitan Opera Company in New York City, Farrar counted amongst her acquaintances such distinguished individuals as David Belasco, Sarah Bernhardt, Emma Calvé, Enrico Caruso, Jean de Reszke, Maurice Grau, Lilli Lehmann, Guglielmo Marconi, Jules Massenet, Nellie Melba, Lillian Nordica, King Oscar of Sweden, Camille Saint-Saëns, Emma Thursby, Arturo Toscanini, Mark Twain, Kaiser Wilhelm II and his son, the Crown Prince Wilhelm. Having sung at the Berlin State Opera, the Monte Carlo Opera and the Metropolitan Opera Company, Farrar was known for her striking physical appearance. Farrar's young, female fans were famously known in New York as “Gerry-flappers.” Early studies occurred in Boston and later in New York City with Emma Thursby. Later studies occurred in Europe with Trabadello, Francesco Graziani and Lilli Lehmann, to whom Farrar had been recommended by Lillian Nordica. Published in 1916, just prior to her marriage to the actor, Lou Tellegen, Geraldine Farrar: The Story of an American Singercovers the singer's early years up to the age of thirty-four. Years later, in 1938, she wrote another book, The Autobiography of Geraldine Farrar: Such Sweet Compulsion. Farrar recorded extensively for the Victor Talking Machine Company and made her debut radio broadcast in 1931. In Ridgefield, Connecticut in 1967, Farrar died of heart disease at the age of eighty-five.

Born in Melrose, Massachusetts in 1882, to Henrietta Barnes and the professional baseball player, Sidney Farrar (who played in the MLB out of Philadelphia from 1883-90), Geraldine Farrar would go on to become one of the great American sopranos who also appeared in over a dozen films during the period of 1915-20. These included Cecil B. De Mille's 1915 adaptation of Georges Bizet's Carmen, as well as the role of Joan of Arc in the 1917 film, Joan the Woman. Possessing a tireless work ethic which saw her give ninety-five appearances as Madama Butterfly and fifty-eight performances as Carmen, both over the span of sixteen seasons at the Metropolitan Opera Company in New York City, Farrar counted amongst her acquaintances such distinguished individuals as David Belasco, Sarah Bernhardt, Emma Calvé, Enrico Caruso, Jean de Reszke, Maurice Grau, Lilli Lehmann, Guglielmo Marconi, Jules Massenet, Nellie Melba, Lillian Nordica, King Oscar of Sweden, Camille Saint-Saëns, Emma Thursby, Arturo Toscanini, Mark Twain, Kaiser Wilhelm II and his son, the Crown Prince Wilhelm. Having sung at the Berlin State Opera, the Monte Carlo Opera and the Metropolitan Opera Company, Farrar was known for her striking physical appearance. Farrar's young, female fans were famously known in New York as “Gerry-flappers.” Early studies occurred in Boston and later in New York City with Emma Thursby. Later studies occurred in Europe with Trabadello, Francesco Graziani and Lilli Lehmann, to whom Farrar had been recommended by Lillian Nordica. Published in 1916, just prior to her marriage to the actor, Lou Tellegen, Geraldine Farrar: The Story of an American Singercovers the singer's early years up to the age of thirty-four. Years later, in 1938, she wrote another book, The Autobiography of Geraldine Farrar: Such Sweet Compulsion. Farrar recorded extensively for the Victor Talking Machine Company and made her debut radio broadcast in 1931. In Ridgefield, Connecticut in 1967, Farrar died of heart disease at the age of eighty-five.

Born in Melrose, Massachusetts in 1882, to Henrietta Barnes and the professional baseball player, Sidney Farrar (who played in the MLB out of Philadelphia from 1883-90), Geraldine Farrar would go on to become one of the great American sopranos who also appeared in over a dozen films during the period of 1915-20. These included Cecil B. De Mille's 1915 adaptation of Georges Bizet's Carmen, as well as the role of Joan of Arc in the 1917 film, Joan the Woman. Possessing a tireless work ethic which saw her give ninety-five appearances as Madama Butterfly and fifty-eight performances as Carmen, both over the span of sixteen seasons at the Metropolitan Opera Company in New York City, Farrar counted amongst her acquaintances such distinguished individuals as David Belasco, Sarah Bernhardt, Emma Calvé, Enrico Caruso, Jean de Reszke, Maurice Grau, Lilli Lehmann, Guglielmo Marconi, Jules Massenet, Nellie Melba, Lillian Nordica, King Oscar of Sweden, Camille Saint-Saëns, Emma Thursby, Arturo Toscanini, Mark Twain, Kaiser Wilhelm II and his son, the Crown Prince Wilhelm. Having sung at the Berlin State Opera, the Monte Carlo Opera and the Metropolitan Opera Company, Farrar was known for her striking physical appearance. Farrar's young, female fans were famously known in New York as “Gerry-flappers.” Early studies occurred in Boston and later in New York City with Emma Thursby. Later studies occurred in Europe with Trabadello, Francesco Graziani and Lilli Lehmann, to whom Farrar had been recommended by Lillian Nordica. Published in 1916, just prior to her marriage to the actor, Lou Tellegen, Geraldine Farrar: The Story of an American Singercovers the singer's early years up to the age of thirty-four. Years later, in 1938, she wrote another book, The Autobiography of Geraldine Farrar: Such Sweet Compulsion. Farrar recorded extensively for the Victor Talking Machine Company and made her debut radio broadcast in 1931. In Ridgefield, Connecticut in 1967, Farrar died of heart disease at the age of eighty-five.

Born in Melrose, Massachusetts in 1882, to Henrietta Barnes and the professional baseball player, Sidney Farrar (who played in the MLB out of Philadelphia from 1883-90), Geraldine Farrar would go on to become one of the great American sopranos who also appeared in over a dozen films during the period of 1915-20. These included Cecil B. De Mille's 1915 adaptation of Georges Bizet's Carmen, as well as the role of Joan of Arc in the 1917 film, Joan the Woman. Possessing a tireless work ethic which saw her give ninety-five appearances as Madama Butterfly and fifty-eight performances as Carmen, both over the span of sixteen seasons at the Metropolitan Opera Company in New York City, Farrar counted amongst her acquaintances such distinguished individuals as David Belasco, Sarah Bernhardt, Emma Calvé, Enrico Caruso, Jean de Reszke, Maurice Grau, Lilli Lehmann, Guglielmo Marconi, Jules Massenet, Nellie Melba, Lillian Nordica, King Oscar of Sweden, Camille Saint-Saëns, Emma Thursby, Arturo Toscanini, Mark Twain, Kaiser Wilhelm II and his son, the Crown Prince Wilhelm. Having sung at the Berlin State Opera, the Monte Carlo Opera and the Metropolitan Opera Company, Farrar was known for her striking physical appearance. Farrar's young, female fans were famously known in New York as “Gerry-flappers.” Early studies occurred in Boston and later in New York City with Emma Thursby. Later studies occurred in Europe with Trabadello, Francesco Graziani and Lilli Lehmann, to whom Farrar had been recommended by Lillian Nordica. Published in 1916, just prior to her marriage to the actor, Lou Tellegen, Geraldine Farrar: The Story of an American Singercovers the singer's early years up to the age of thirty-four. Years later, in 1938, she wrote another book, The Autobiography of Geraldine Farrar: Such Sweet Compulsion. Farrar recorded extensively for the Victor Talking Machine Company and made her debut radio broadcast in 1931. In Ridgefield, Connecticut in 1967, Farrar died of heart disease at the age of eighty-five.

Born in Melrose, Massachusetts in 1882, to Henrietta Barnes and the professional baseball player, Sidney Farrar (who played in the MLB out of Philadelphia from 1883-90), Geraldine Farrar would go on to become one of the great American sopranos who also appeared in over a dozen films during the period of 1915-20. These included Cecil B. De Mille's 1915 adaptation of Georges Bizet's Carmen, as well as the role of Joan of Arc in the 1917 film, Joan the Woman. Possessing a tireless work ethic which saw her give ninety-five appearances as Madama Butterfly and fifty-eight performances as Carmen, both over the span of sixteen seasons at the Metropolitan Opera Company in New York City, Farrar counted amongst her acquaintances such distinguished individuals as David Belasco, Sarah Bernhardt, Emma Calvé, Enrico Caruso, Jean de Reszke, Maurice Grau, Lilli Lehmann, Guglielmo Marconi, Jules Massenet, Nellie Melba, Lillian Nordica, King Oscar of Sweden, Camille Saint-Saëns, Emma Thursby, Arturo Toscanini, Mark Twain, Kaiser Wilhelm II and his son, the Crown Prince Wilhelm. Having sung at the Berlin State Opera, the Monte Carlo Opera and the Metropolitan Opera Company, Farrar was known for her striking physical appearance. Farrar's young, female fans were famously known in New York as “Gerry-flappers.” Early studies occurred in Boston and later in New York City with Emma Thursby. Later studies occurred in Europe with Trabadello, Francesco Graziani and Lilli Lehmann, to whom Farrar had been recommended by Lillian Nordica. Published in 1916, just prior to her marriage to the actor, Lou Tellegen, Geraldine Farrar: The Story of an American Singercovers the singer's early years up to the age of thirty-four. Years later, in 1938, she wrote another book, The Autobiography of Geraldine Farrar: Such Sweet Compulsion. Farrar recorded extensively for the Victor Talking Machine Company and made her debut radio broadcast in 1931. In Ridgefield, Connecticut in 1967, Farrar died of heart disease at the age of eighty-five.

Born in Melrose, Massachusetts in 1882, to Henrietta Barnes and the professional baseball player, Sidney Farrar (who played in the MLB out of Philadelphia from 1883-90), Geraldine Farrar would go on to become one of the great American sopranos who also appeared in over a dozen films during the period of 1915-20. These included Cecil B. De Mille's 1915 adaptation of Georges Bizet's Carmen, as well as the role of Joan of Arc in the 1917 film, Joan the Woman. Possessing a tireless work ethic which saw her give ninety-five appearances as Madama Butterfly and fifty-eight performances as Carmen, both over the span of sixteen seasons at the Metropolitan Opera Company in New York City, Farrar counted amongst her acquaintances such distinguished individuals as David Belasco, Sarah Bernhardt, Emma Calvé, Enrico Caruso, Jean de Reszke, Maurice Grau, Lilli Lehmann, Guglielmo Marconi, Jules Massenet, Nellie Melba, Lillian Nordica, King Oscar of Sweden, Camille Saint-Saëns, Emma Thursby, Arturo Toscanini, Mark Twain, Kaiser Wilhelm II and his son, the Crown Prince Wilhelm. Having sung at the Berlin State Opera, the Monte Carlo Opera and the Metropolitan Opera Company, Farrar was known for her striking physical appearance. Farrar's young, female fans were famously known in New York as “Gerry-flappers.” Early studies occurred in Boston and later in New York City with Emma Thursby. Later studies occurred in Europe with Trabadello, Francesco Graziani and Lilli Lehmann, to whom Farrar had been recommended by Lillian Nordica. Published in 1916, just prior to her marriage to the actor, Lou Tellegen, Geraldine Farrar: The Story of an American Singercovers the singer's early years up to the age of thirty-four. Years later, in 1938, she wrote another book, The Autobiography of Geraldine Farrar: Such Sweet Compulsion. Farrar recorded extensively for the Victor Talking Machine Company and made her debut radio broadcast in 1931. In Ridgefield, Connecticut in 1967, Farrar died of heart disease at the age of eighty-five.

Born in Melrose, Massachusetts in 1882, to Henrietta Barnes and the professional baseball player, Sidney Farrar (who played in the MLB out of Philadelphia from 1883-90), Geraldine Farrar would go on to become one of the great American sopranos who also appeared in over a dozen films during the period of 1915-20. These included Cecil B. De Mille's 1915 adaptation of Georges Bizet's Carmen, as well as the role of Joan of Arc in the 1917 film, Joan the Woman. Possessing a tireless work ethic which saw her give ninety-five appearances as Madama Butterfly and fifty-eight performances as Carmen, both over the span of sixteen seasons at the Metropolitan Opera Company in New York City, Farrar counted amongst her acquaintances such distinguished individuals as David Belasco, Sarah Bernhardt, Emma Calvé, Enrico Caruso, Jean de Reszke, Maurice Grau, Lilli Lehmann, Guglielmo Marconi, Jules Massenet, Nellie Melba, Lillian Nordica, King Oscar of Sweden, Camille Saint-Saëns, Emma Thursby, Arturo Toscanini, Mark Twain, Kaiser Wilhelm II and his son, the Crown Prince Wilhelm. Having sung at the Berlin State Opera, the Monte Carlo Opera and the Metropolitan Opera Company, Farrar was known for her striking physical appearance. Farrar's young, female fans were famously known in New York as “Gerry-flappers.” Early studies occurred in Boston and later in New York City with Emma Thursby. Later studies occurred in Europe with Trabadello, Francesco Graziani and Lilli Lehmann, to whom Farrar had been recommended by Lillian Nordica. Published in 1916, just prior to her marriage to the actor, Lou Tellegen, Geraldine Farrar: The Story of an American Singercovers the singer's early years up to the age of thirty-four. Years later, in 1938, she wrote another book, The Autobiography of Geraldine Farrar: Such Sweet Compulsion. Farrar recorded extensively for the Victor Talking Machine Company and made her debut radio broadcast in 1931. In Ridgefield, Connecticut in 1967, Farrar died of heart disease at the age of eighty-five.

Born in Melrose, Massachusetts in 1882, to Henrietta Barnes and the professional baseball player, Sidney Farrar (who played in the MLB out of Philadelphia from 1883-90), Geraldine Farrar would go on to become one of the great American sopranos who also appeared in over a dozen films during the period of 1915-20. These included Cecil B. De Mille's 1915 adaptation of Georges Bizet's Carmen, as well as the role of Joan of Arc in the 1917 film, Joan the Woman. Possessing a tireless work ethic which saw her give ninety-five appearances as Madama Butterfly and fifty-eight performances as Carmen, both over the span of sixteen seasons at the Metropolitan Opera Company in New York City, Farrar counted amongst her acquaintances such distinguished individuals as David Belasco, Sarah Bernhardt, Emma Calvé, Enrico Caruso, Jean de Reszke, Maurice Grau, Lilli Lehmann, Guglielmo Marconi, Jules Massenet, Nellie Melba, Lillian Nordica, King Oscar of Sweden, Camille Saint-Saëns, Emma Thursby, Arturo Toscanini, Mark Twain, Kaiser Wilhelm II and his son, the Crown Prince Wilhelm. Having sung at the Berlin State Opera, the Monte Carlo Opera and the Metropolitan Opera Company, Farrar was known for her striking physical appearance. Farrar's young, female fans were famously known in New York as “Gerry-flappers.” Early studies occurred in Boston and later in New York City with Emma Thursby. Later studies occurred in Europe with Trabadello, Francesco Graziani and Lilli Lehmann, to whom Farrar had been recommended by Lillian Nordica. Published in 1916, just prior to her marriage to the actor, Lou Tellegen, Geraldine Farrar: The Story of an American Singercovers the singer's early years up to the age of thirty-four. Years later, in 1938, she wrote another book, The Autobiography of Geraldine Farrar: Such Sweet Compulsion. Farrar recorded extensively for the Victor Talking Machine Company and made her debut radio broadcast in 1931. In Ridgefield, Connecticut in 1967, Farrar died of heart disease at the age of eighty-five.

Born in Melrose, Massachusetts in 1882, to Henrietta Barnes and the professional baseball player, Sidney Farrar (who played in the MLB out of Philadelphia from 1883-90), Geraldine Farrar would go on to become one of the great American sopranos who also appeared in over a dozen films during the period of 1915-20. These included Cecil B. De Mille's 1915 adaptation of Georges Bizet's Carmen, as well as the role of Joan of Arc in the 1917 film, Joan the Woman. Possessing a tireless work ethic which saw her give ninety-five appearances as Madama Butterfly and fifty-eight performances as Carmen, both over the span of sixteen seasons at the Metropolitan Opera Company in New York City, Farrar counted amongst her acquaintances such distinguished individuals as David Belasco, Sarah Bernhardt, Emma Calvé, Enrico Caruso, Jean de Reszke, Maurice Grau, Lilli Lehmann, Guglielmo Marconi, Jules Massenet, Nellie Melba, Lillian Nordica, King Oscar of Sweden, Camille Saint-Saëns, Emma Thursby, Arturo Toscanini, Mark Twain, Kaiser Wilhelm II and his son, the Crown Prince Wilhelm. Having sung at the Berlin State Opera, the Monte Carlo Opera and the Metropolitan Opera Company, Farrar was known for her striking physical appearance. Farrar's young, female fans were famously known in New York as “Gerry-flappers.” Early studies occurred in Boston and later in New York City with Emma Thursby. Later studies occurred in Europe with Trabadello, Francesco Graziani and Lilli Lehmann, to whom Farrar had been recommended by Lillian Nordica. Published in 1916, just prior to her marriage to the actor, Lou Tellegen, Geraldine Farrar: The Story of an American Singercovers the singer's early years up to the age of thirty-four. Years later, in 1938, she wrote another book, The Autobiography of Geraldine Farrar: Such Sweet Compulsion. Farrar recorded extensively for the Victor Talking Machine Company and made her debut radio broadcast in 1931. In Ridgefield, Connecticut in 1967, Farrar died of heart disease at the age of eighty-five.

Born in Melrose, Massachusetts in 1882, to Henrietta Barnes and the professional baseball player, Sidney Farrar (who played in the MLB out of Philadelphia from 1883-90), Geraldine Farrar would go on to become one of the great American sopranos who also appeared in over a dozen films during the period of 1915-20. These included Cecil B. De Mille's 1915 adaptation of Georges Bizet's Carmen, as well as the role of Joan of Arc in the 1917 film, Joan the Woman. Possessing a tireless work ethic which saw her give ninety-five appearances as Madama Butterfly and fifty-eight performances as Carmen, both over the span of sixteen seasons at the Metropolitan Opera Company in New York City, Farrar counted amongst her acquaintances such distinguished individuals as David Belasco, Sarah Bernhardt, Emma Calvé, Enrico Caruso, Jean de Reszke, Maurice Grau, Lilli Lehmann, Guglielmo Marconi, Jules Massenet, Nellie Melba, Lillian Nordica, King Oscar of Sweden, Camille Saint-Saëns, Emma Thursby, Arturo Toscanini, Mark Twain, Kaiser Wilhelm II and his son, the Crown Prince Wilhelm. Having sung at the Berlin State Opera, the Monte Carlo Opera and the Metropolitan Opera Company, Farrar was known for her striking physical appearance. Farrar's young, female fans were famously known in New York as “Gerry-flappers.” Early studies occurred in Boston and later in New York City with Emma Thursby. Later studies occurred in Europe with Trabadello, Francesco Graziani and Lilli Lehmann, to whom Farrar had been recommended by Lillian Nordica. Published in 1916, just prior to her marriage to the actor, Lou Tellegen, Geraldine Farrar: The Story of an American Singercovers the singer's early years up to the age of thirty-four. Years later, in 1938, she wrote another book, The Autobiography of Geraldine Farrar: Such Sweet Compulsion. Farrar recorded extensively for the Victor Talking Machine Company and made her debut radio broadcast in 1931. In Ridgefield, Connecticut in 1967, Farrar died of heart disease at the age of eighty-five.

Born in Melrose, Massachusetts in 1882, to Henrietta Barnes and the professional baseball player, Sidney Farrar (who played in the MLB out of Philadelphia from 1883-90), Geraldine Farrar would go on to become one of the great American sopranos who also appeared in over a dozen films during the period of 1915-20. These included Cecil B. De Mille's 1915 adaptation of Georges Bizet's Carmen, as well as the role of Joan of Arc in the 1917 film, Joan the Woman. Possessing a tireless work ethic which saw her give ninety-five appearances as Madama Butterfly and fifty-eight performances as Carmen, both over the span of sixteen seasons at the Metropolitan Opera Company in New York City, Farrar counted amongst her acquaintances such distinguished individuals as David Belasco, Sarah Bernhardt, Emma Calvé, Enrico Caruso, Jean de Reszke, Maurice Grau, Lilli Lehmann, Guglielmo Marconi, Jules Massenet, Nellie Melba, Lillian Nordica, King Oscar of Sweden, Camille Saint-Saëns, Emma Thursby, Arturo Toscanini, Mark Twain, Kaiser Wilhelm II and his son, the Crown Prince Wilhelm. Having sung at the Berlin State Opera, the Monte Carlo Opera and the Metropolitan Opera Company, Farrar was known for her striking physical appearance. Farrar's young, female fans were famously known in New York as “Gerry-flappers.” Early studies occurred in Boston and later in New York City with Emma Thursby. Later studies occurred in Europe with Trabadello, Francesco Graziani and Lilli Lehmann, to whom Farrar had been recommended by Lillian Nordica. Published in 1916, just prior to her marriage to the actor, Lou Tellegen, Geraldine Farrar: The Story of an American Singercovers the singer's early years up to the age of thirty-four. Years later, in 1938, she wrote another book, The Autobiography of Geraldine Farrar: Such Sweet Compulsion. Farrar recorded extensively for the Victor Talking Machine Company and made her debut radio broadcast in 1931. In Ridgefield, Connecticut in 1967, Farrar died of heart disease at the age of eighty-five.

Born in Melrose, Massachusetts in 1882, to Henrietta Barnes and the professional baseball player, Sidney Farrar (who played in the MLB out of Philadelphia from 1883-90), Geraldine Farrar would go on to become one of the great American sopranos who also appeared in over a dozen films during the period of 1915-20. These included Cecil B. De Mille's 1915 adaptation of Georges Bizet's Carmen, as well as the role of Joan of Arc in the 1917 film, Joan the Woman. Possessing a tireless work ethic which saw her give ninety-five appearances as Madama Butterfly and fifty-eight performances as Carmen, both over the span of sixteen seasons at the Metropolitan Opera Company in New York City, Farrar counted amongst her acquaintances such distinguished individuals as David Belasco, Sarah Bernhardt, Emma Calvé, Enrico Caruso, Jean de Reszke, Maurice Grau, Lilli Lehmann, Guglielmo Marconi, Jules Massenet, Nellie Melba, Lillian Nordica, King Oscar of Sweden, Camille Saint-Saëns, Emma Thursby, Arturo Toscanini, Mark Twain, Kaiser Wilhelm II and his son, the Crown Prince Wilhelm. Having sung at the Berlin State Opera, the Monte Carlo Opera and the Metropolitan Opera Company, Farrar was known for her striking physical appearance. Farrar's young, female fans were famously known in New York as “Gerry-flappers.” Early studies occurred in Boston and later in New York City with Emma Thursby. Later studies occurred in Europe with Trabadello, Francesco Graziani and Lilli Lehmann, to whom Farrar had been recommended by Lillian Nordica. Published in 1916, just prior to her marriage to the actor, Lou Tellegen, Geraldine Farrar: The Story of an American Singercovers the singer's early years up to the age of thirty-four. Years later, in 1938, she wrote another book, The Autobiography of Geraldine Farrar: Such Sweet Compulsion. Farrar recorded extensively for the Victor Talking Machine Company and made her debut radio broadcast in 1931. In Ridgefield, Connecticut in 1967, Farrar died of heart disease at the age of eighty-five.

What do ballerinas and entrepreneurs have in common? Yes, there is always failure before success, a fall before the RISE. Susanne Puerschel was a former member of the Berlin State Opera and founder of Pointe To Rise, an empowerment society and online business platform for ballerinas and dancers alike. Continuing in the month of Dance Entrepreneurship, this episode delves deep into the psyche of life as a former ballerina and how to gain empowerment for a future in entrepreneurship. Ready to run your own online dance business? Come, let's put on our shoes and pointe to rise!Susanne PuerschelPointe To RisePointe To Rise PodcastIf you resonate, connect with me byVisiting The Background DancerRate and review here Sign up here to receive notifications regarding future contentLeave a thought on Facebook and InstagramJoin the Facebook group and introduce yourself as a member of our communitySoundtrack: Birds - Tyler TwomblySupport the show (https://www.buymeacoffee.com/background)

Synopsis “How do you get to Carnegie Hall?” Well, the usual reply is, “By practicing!” But back in 1891, Peter Tchaikovsky would have probably answered, “by ship”–since he had, in fact, sailed from Europe to conduct several of his pieces at the hall’s gala opening concerts. The first concert in Carnegie Hall, or as they called it back then, “The Music Hall,” occurred on today’s date in 1891, and included a performance of Tchaikovsky’s “Coronation March,” conducted by the composer. The review in the New York Herald offered these comments: “Tchaikovsky’s March... is simple, strong and sober, but not surprisingly original. The leading theme recalls the Hallelujah chorus, and the treatment of the first part is Handelian… Of the deep passion, the complexity and poetry which mark other works of Tchaikovsky, there is no sign in this march.” Oh well, in the days that followed, Tchaikovsky would conduct other works of “complexity and poetry,” including his First Piano Concerto. Tchaikovsky kept a travel diary and recorded these impressions of New York: "It is a huge city, not beautiful, but very original. In Chicago, I’m told, they have gone even further–one of the houses there has 21 floors!" Music Played in Today's Program Peter Tchaikovsky (1840 – 1893) Coronation March Boston Pops; John Williams, cond. Philips 420 804 Orchestral Suite No. 3, Op. 55 New Philharmonia; Antal Dorati, cond. Philips 464 747 On This Day Births 1819 - Polish composer Stanislaw Moniuszko, in Ubiel, province of Minsk, Russia; 1869 - German composer and conductor Hans Pfitzner, in Moscow, of German parents (Julian date: April 23); Premieres 1726 - Handel: opera "Alessandro," in London at King's Theater in the Haymarket, with the Italian soprano Faustina Bordini marking her London debut in a work by Handel (Gregorian date: May 16); 1917 - Debussy: Violin Sonata, in Paris, by violinist Gaston Poulet with the composer at the piano (his last public appearance); 1926 - Copland: Two Pieces ("Nocturne" and "Ukelele Serenade"), in Paris by violinist Samuel Dushkin with the composer at the piano; 1930 - Milhaud: opera "Christophe Colomb" (Christopher Columbus),at the Berlin State Opera; 1941 - Britten: "Paul Bunyan" (text by W.H. Auden) at Columbia University in New York City; 1945 - Barber: "I Hear an Army," "Monks and Raisins," "Nocturne,""Sure On This Shining Night," during a CBS radio broadcast, with mezzo Jennie Tourel and the CBS Symphony, composer conducting; 1946 - Douglas Moore: Symphony in A, in Paris; 1977 - George Crumb: oratorio "Star Child," by the New York Philharmonic, Pierre Boulez conducting; 1982 - Ellen Taaffe Zwilich: Symphony No. 1, at Alice Tully Hall in New York, by the American Composers Orchestra, Gunther Schuller conducting; This work won the Pulitzer Prize in 1983; 1987 - John Williams: "A Hymn to New England," by the Boston Pops conducted by the composer (recorded by the Pops and Keith Lockhardt ); 1991 - Joan Tower: "Fanfare for the Uncommon Woman" No. 3(dedicated to Frances Richard of ASCAP), at Carnegie Hall, by members of the Empire Brass and the New York Philharmonic, Zubin Mehta conducting; 2000 - Christopher Rouse: "Rapture" for orchestra, by the Pittsburgh Symphony, Mariss Jansons conducting; 2001 - Christopher Rouse: "Rapturedux" cello ensemble, by the Royal Northern College of Music Cellists in Manchester (U.K.); Others 1891 - Carnegie Hall opens in New York City with a concert that included Beethoven's "Leonore" Overture No. 3 conducted by Walter Damrosch, and Tchaikovsky's "Marche Solennelle" (Coronation March) conducted by its composer. Links and Resources On Carnegie Hall On Tchaikovsky

Synopsis “How do you get to Carnegie Hall?” Well, the usual reply is, “By practicing!” But back in 1891, Peter Tchaikovsky would have probably answered, “by ship”–since he had, in fact, sailed from Europe to conduct several of his pieces at the hall’s gala opening concerts. The first concert in Carnegie Hall, or as they called it back then, “The Music Hall,” occurred on today’s date in 1891, and included a performance of Tchaikovsky’s “Coronation March,” conducted by the composer. The review in the New York Herald offered these comments: “Tchaikovsky’s March... is simple, strong and sober, but not surprisingly original. The leading theme recalls the Hallelujah chorus, and the treatment of the first part is Handelian… Of the deep passion, the complexity and poetry which mark other works of Tchaikovsky, there is no sign in this march.” Oh well, in the days that followed, Tchaikovsky would conduct other works of “complexity and poetry,” including his First Piano Concerto. Tchaikovsky kept a travel diary and recorded these impressions of New York: "It is a huge city, not beautiful, but very original. In Chicago, I’m told, they have gone even further–one of the houses there has 21 floors!" Music Played in Today's Program Peter Tchaikovsky (1840 – 1893) Coronation March Boston Pops; John Williams, cond. Philips 420 804 Orchestral Suite No. 3, Op. 55 New Philharmonia; Antal Dorati, cond. Philips 464 747 On This Day Births 1819 - Polish composer Stanislaw Moniuszko, in Ubiel, province of Minsk, Russia; 1869 - German composer and conductor Hans Pfitzner, in Moscow, of German parents (Julian date: April 23); Premieres 1726 - Handel: opera "Alessandro," in London at King's Theater in the Haymarket, with the Italian soprano Faustina Bordini marking her London debut in a work by Handel (Gregorian date: May 16); 1917 - Debussy: Violin Sonata, in Paris, by violinist Gaston Poulet with the composer at the piano (his last public appearance); 1926 - Copland: Two Pieces ("Nocturne" and "Ukelele Serenade"), in Paris by violinist Samuel Dushkin with the composer at the piano; 1930 - Milhaud: opera "Christophe Colomb" (Christopher Columbus),at the Berlin State Opera; 1941 - Britten: "Paul Bunyan" (text by W.H. Auden) at Columbia University in New York City; 1945 - Barber: "I Hear an Army," "Monks and Raisins," "Nocturne,""Sure On This Shining Night," during a CBS radio broadcast, with mezzo Jennie Tourel and the CBS Symphony, composer conducting; 1946 - Douglas Moore: Symphony in A, in Paris; 1977 - George Crumb: oratorio "Star Child," by the New York Philharmonic, Pierre Boulez conducting; 1982 - Ellen Taaffe Zwilich: Symphony No. 1, at Alice Tully Hall in New York, by the American Composers Orchestra, Gunther Schuller conducting; This work won the Pulitzer Prize in 1983; 1987 - John Williams: "A Hymn to New England," by the Boston Pops conducted by the composer (recorded by the Pops and Keith Lockhardt ); 1991 - Joan Tower: "Fanfare for the Uncommon Woman" No. 3(dedicated to Frances Richard of ASCAP), at Carnegie Hall, by members of the Empire Brass and the New York Philharmonic, Zubin Mehta conducting; 2000 - Christopher Rouse: "Rapture" for orchestra, by the Pittsburgh Symphony, Mariss Jansons conducting; 2001 - Christopher Rouse: "Rapturedux" cello ensemble, by the Royal Northern College of Music Cellists in Manchester (U.K.); Others 1891 - Carnegie Hall opens in New York City with a concert that included Beethoven's "Leonore" Overture No. 3 conducted by Walter Damrosch, and Tchaikovsky's "Marche Solennelle" (Coronation March) conducted by its composer. Links and Resources On Carnegie Hall On Tchaikovsky

New York-based African American mezzo-contralto Bonita Hyman has performed on some of the world’s leading stages, including the Lyric Opera of Chicago, the Dallas Opera, the Opéra Comique in Paris, the Deutsche Oper am Rhein and the Leipzig Opera, and with a repertoire that includes Maria (Porgy and Bess), Erda (Der Ring des Nibelungen), Suzuki (Madama Butterfly), Azucena (Il trovatore), Ulrica (Un ballo in maschera), Bradamante (Alcina), and Geneviève (Pelléas et Mélisande). She first approached Richard Strauss’ Elektra and the role of the Erste Magd in 2013 with the acclaimed Patrice Chéreau production that went on to have eight revivals at La Scala, Milan (2014 and 2018), the Metropolitan Opera in New York (2016), the Finnish National Opera in Helsinki (2016), the Berlin State Opera (2016 and 2019) and the Teatre del Liceu in Barcelona (2016). This ninth staging is a new production by Krzysztof Warlikowski, presented in this year's 100th anniversary of the Salzburg Festival. In the interview, she compares the two stagings of Elektra, her collaboration with UNICEF this month, and dives deep into the different effects of female oppression that lay at the foundation of this opera.

Born in Germany, Michél started his music career at the age of 16 and only a year later, signed his first record deal and moved to Berlin to further is music studies. He built his professional reputation in the german music industry as a performer, teacher and producer working with as wide variety of institutions such as the Berlin State Opera, Universal and Sony Music. Alongside this he performed with international Acts like The Wu-Tang-Clan, Bloodhound Gang, Danko Jones, Nick Cave, Powderfinger and Fall Out Boy. Today Michel's focus has turned to mentoring, producing and helping artists discover their voice and make a living in the new music industry working with 50 + artists in 2017 and 20 fully produced releases so far in 2018! Connect with Michel on facebook at: https://www.facebook.com/mi.kro.ber email: michelkrollmusic@gmail.com Or visit: www.universalschoolofmusic.com.au to book your free 30 min discovery interview with Michel

There have been many highlights in Simone Young's career. Alongside conducting most of the world’s great orchestras including the London and New York Philharmonic Orchestras, the City of Birmingham Symphony, and the BBC Symphony at the BBC Proms, she was also the first woman to conduct at the Vienna State Opera and the Vienna Philharmonic, two orchestras she regularly returns to conduct today. In 1983, at just 22, Simone Young had already joined the staff of Opera Australia. She studied at Sydney’s Conservatorium of Music prior to taking up her position with AO where she worked as a répétiteur. By 1986, the young Sydneyite was conducting at the Sydney Opera House and appointed a resident conductor with Opera Australia. Simone moved to Germany, where she took up a position assisting James Conlon, the conductor at the Cologne Opera. This led to further engagements, including working alongside the legendary Daniel Barenboim at the Berlin State Opera and the Bayreuth Festival. In 1998 she was appointed principal conductor of the Bergen Philharmonic Orchestra in Norway. But Australia was never far from her sights. In 2000, Simone was given what she terms one of the greatest honours of her career, when she conducted the national anthem at the 2000 Olympic Games in Sydney. Not long afterwards, she returned to take up the position of Music Director with Opera Australia, but despite these three years being an artistically rewarding period, they were turbulent years in her career. In 2005 Simone returned to Europe to direct one of the Germany’s major opera houses, the Hamburg State Opera, and as chief conductor of the city’s philharmonic orchestra, positions she held until 2015. Simone has also been a great mentor for a number of Australian conductors and singers. She says, “I think it is incredibly important for young conductors to see just how tough the working side of this job is. If you don’t want to work hard, don’t choose this profession.”It was, indeed, in the midst of a heavy performance and rehearsal schedule in Berlin that Simone Young joined the Tall Poppies podcast. In this episode, she recalls how her musical education in Australia and her father’s good advice prepared her for an international conducting career. Simone also confides how she plans to tackle the latest position she has added to her illustrious list of honours – that of being the Australian Nana to her two grandchildren.

The veteran journalist and critically acclaimed author of The Lemon Tree brings us another true story of hope in the Palestinian-Israeli impasse. His newest book, Children of the Stone, chronicles a young violist--- Ramzi Hussein Aburedwan-- who escapes a Palestinian refugee camp and later returns to fulfill his dream: establishing a music school with the help of Israeli musicians including Daniel Barenboim, director of the Berlin State Opera and La Scala. Join Tolan for a moving conversation about how a love of music transforms and empowers lives in a war-torn land. *Click here to see photos of the program!  

Georg Hann (January 30, 1897 - December 9, 1950) was an Austrian operatic bass-baritone, particularly associated with the comic (singspiel) German repertory. Born in Vienna, he studied at the Music Academy there with Theodor Lierhammer. He joined the Munich State Opera in 1927, and remained with this theatre until his death. He also appeared regularly at the Vienna State Opera and the Salzburg Festival, quickly establishing himself as a leading buffo interpreter, notably in roles such as Leporello, Falstaff, Kecal, Ochs, La Roche (role he created in 1942), etc. He made guest appearances at the Berlin State Opera, La Monnaie in Brussels, the Paris Opéra, the Royal Opera House in London, La Scala in Milan. He did not limit himself to comic roles but also sang Sarastro, Pizzaro, Gunther, Amfortas, Daland and tackled a few Italian roles as well notably Wurm, Alfio, Tonio, as well as Mefistophele in Gounod's Faust. Hann died in Munich aged only 53.    Hann sings arias and scenes from: Zar und Zimmermann (Lortzing), Der Wildschutz (Lortzing) w. With Wolfgang Windgassen and Res Fischer, Barber of Bagdad (Cornelius), w.Lorenz Fehenberger, Nabucco, Falstaff, Gypsy Baron, Die Bettelstudent(Millocker).

Gianna Pederzini (February 10, 1900 - March 12, 1988) was an Italian mezzo-soprano. Pederzini was born in Trento. She studied in Naples with Fernando de Lucia, and made her stage debut in Messina, as Preziosilla, in 1923. She sang widely in Italy, notably as Mignon and Carmen, and made her debut at the Teatro San Carlo in Naples, as Adalgisa, in 1928, and at the Teatro alla Scala in Milan, in 1930. Abroad, she appeared at the Royal Opera House in London in 1931, the Opéra de Paris in 1935, the Teatro Colón in 1938, and the Berlin State Opera in 1941. She defended a wide repertoire, she took part in the 1930s in revivals of rare operas by Rossini and Donizetti, while singing the standard mezzo roles; Azucena, Ulrica, Amneris, Laura, but also a few dramatic soprano roles such as Santuzza and Fedora, etc. In the 1950s, she began concentrating on "character roles" such as the Countess in The Queen of Spades, Mistress Quickly in Falstaff, Madame Flora in The Medium, and took part in the creation of Dialogues of the Carmelites at La Scala, in 1957. She died, aged 88, in Rome. Arias by this superb mezzo from: Trovatore, Carmen, Mignon, Forza, Favorita,F igaro, Italiana, Werther  (65 min.)

Frida Leider was born at Berlin, where she studied singing while working in a bank. Her first engagements led her to opera houses in Halle, Königsberg, and Rostock. After an engagement with the Hamburg State Opera in 1923, she was hired by the Berlin State Opera as first dramatic soprano. After her retirement from the stage in 1946, she remained there as the director and manager of a studio for the rising singers of the Berlin State Opera. Frida Leider made regular guest appearances for over 15 years at the Royal Opera House at Covent Garden in London, at the Metropolitan Opera in New York, at La Scala in Milan, and at the State Operas of Vienna and Munich. Naturally, she also made appearances at the Bayreuth Festival, where she was the unrivaled star soprano of the 1930s. In the 1920s she alternated Wagnerian roles with Florence Austral at Covent Garden and the two recorded large parts of The Ring for HMV. Leider married the first concert master of the Berlin State Opera, Prof. Rudolf Deman. The couple had no children. She died in her home city of Berlin. Leider had a wonderful voice, and especially the warmth and feeling is there. We hear first two excerpts of two commercial recordings of Tristan from 1929 under Leo Blech, with Elfreide Marherr as Brangaene, and then under Sir John Barbirolli in 1931. This is followed by live Gotterdamerung  Act 2 scenes from 1936 with Herbert Janssen and Ludwig Weber, followed by a commercial recording of the Immolation Scene in 1929 under Leo Blech.