Podcasts about berlioz

Marina Hervás nos explica la relación de los compositores de música clásica con las drogas volcada en sus obras, desde 'Las Cuatro Estaciones' de Vivaldi hasta el músico francés Berlioz. 

Setlistberlioz - la danseClaptone - CreamThe Brothers Macklovitch & A-Trak ft Leven Kali - Give Love to Get Some (Morgan Geist Dub)T.Markakis - That Jazz FeelingDetroit Swindle - The Fat Rat Jazz Vol. 1 - Seb Wildblood#ToProgress

Berlioz wrote a real crown pleaser, then shoved it into a flop- was it enough to save his piece and his reputation? Be sure to like and share with a friend! Music: https://imslp.org/wiki/La_damnation_de_Faust%2C_H_111_(Berlioz%2C_Hector) https://creativecommons.org/licenses/by-nc-nd/3.0/legalcode

Today's episode is a special request from one of my most dedicated listeners, and one with which I am happy to comply. It is already seven years this month since the death of the great Swedish tenor Nicolai Gedda (11 July 1925 – 8 January 2017). One of the most cultivated singers of the twentieth century, Gedda not only had a rock-solid technique and an instantly recognizable timbre, but he was a brilliant musician and a polyglot of the first order, singing a wide range of repertoire and styles in a host of languages. He was also a prolific recording artist. Though he sang an enormous range of operatic roles, in this episode, I have decided to focus entirely on a slightly lesser-known aspect of his career: his work in art song. Gedda was a master of French style, but also celebrated for his performances of Russian music. And one of the three languages he spoke while he was growing up was German, which lends his work in that language a real authenticity as well. In listening to recordings of song repertoire, I was struck by the frequent added spontaneity and commitment of his live versus his studio performances, so the episode features a large number of selections culled from Gedda's live recitals. Gedda is accompanied by some of the most exceptional pianists of his time: Alexis Weissenberg, Wolfgang Sawallisch, Gerald Moore, Geoffrey Parsons, Dalton Baldwin, Erik Werba, Hermann Reutter, and his compatriot and most frequent collaborator Jan Eyron. Another extraordinary aspect of Gedda's singing was his longevity. We hear him in songs by Strauss, Berlioz, Schubert, Janáček, Duparc, Grieg, Schumann, Fauré, Respighi, and Gounod, recorded over a period of nearly 40 years. Here is another singer who was active into the twilight of his life and sang into his seventies with both the intimacy and clarion power that were his musical trademarks. Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly support at whatever level you can afford. Bonus episodes available exclusively to Patreon supporters are currently available and further bonus content including interviews and livestreams is planned for the upcoming season.

durée : 00:06:28 - La Chronique musicale de Marina Chiche - Aujourd'hui, Marina Chiche nous parle de colère divine, et plus particulièrement du thème du Dies irae, un thème « mortel » qui traverse toute l'histoire de la musique : Berlioz, Jacques Brel, musiques de film et de jeux vidéo…

Grit Schulze hat Sir Antonio Pappano getroffen und mit ihm über die Magie einer jeden Aufführung, den musikalischen Provokateur Berlioz und seine Liebe zur Oper gesprochen.

Synopsis He was dubbed the "French Beethoven," and like Ludwig van, was famous as both a composer and a pianist. Camille Saint-Saëns was born in Paris in 1835, and died on today's date, at the age of 86, in 1921. The death date seems rather fitting, in a macabre sort of way, since December 16th is also the date we celebrate as Beethoven's birthday. And imagine, if you will, the 10-year old Saint-Saens making his formal debut as a pianist at the Salle Pleyel in Paris, first performing a concerto by Beethoven, then, as an encore, offering to play any one of Beethoven's 32 piano sonatas—from memory! Saint-Saens's keyboard skills were legendary. An early admirer of Wagner, Saint-Saens once amazed that composer by playing entire scores of his operas at sight. Berlioz, another admirer, once quipped that Saint-Saens: "knows everything but lacks inexperience." In addition to music, Saint-Saens was fascinated by mathematics, astronomy, and the natural sciences. As a young boy he collected fossils that he dug out himself from the stone quarries at Meudon. Maybe that experience inspired him years later to add a movement titled fossils to his Carnival of the Animals, a chamber work he wrote as a private joke in 1886. Saint-Saens forbade its publication during his lifetime, and probably would have been appalled that this flippant work—and not his more serious symphonies or sonatas—has become his best-known and best-loved work. Music Played in Today's Program Camille Saint-Saëns (1835-1921) Variations on a theme of Beethoven Philippe Corre and Edouard Exerjean, pianos Pierre Verany 790041 Camille Saint-Saëns (1835-1921) Fossils, from Carnival of the Animals Martha Argerich, Nelson Freire, pianos; Markus Steckeler, xylophone; ensemble Philips 446557

Tchaikovsky, Coleridge-Taylor, Handel, Rimsky-Korsakov, Cornelius, L. Mozart, Berlioz, Tchaikovsky.

Synopsis These days, no one is surprised if a popular film generates a series of sequels or even prequels, but back in the 1830s the idea of a composer coming up with a sequel to a symphony must have seemed a little odd. But that odd idea did pop into the head of French composer Hector Berlioz. In 1830, Berlioz had a huge hit with his Symphonie fantastique. That Fantastic Symphony told a story through music, based on the composer's own real-life, unrequited love for a British Shakespearian actress. The story ends badly, with our hero trying to end it all with a dose of opium, which, while not killing him, does produce, well, “fantastic” nightmares in which he is condemned to death for killing his beloved who reappears at a grotesque witches' sabbath. That seems a hard act to follow, but two years later, Berlioz produced a musical sequel, entitled “Lelio, or the Return to Life,” which premiered in Paris on today's date in 1832. In this, our hero awakes from his drug-induced nightmare, and, with a little help from Shakespeare and a kind of 10-step arts-based recovery program, rededicates his life to music. Berlioz intended the original and the sequel to be performed together as a kind of double-feature. Alas, while audiences thrill to the lurid Symphonie fantastique, they tend to drift during the admirable, but rather boring rehab sequel, which is rarely performed. Music Played in Today's Program Hector Berlioz (1803 – 1869) Fantasy on Shakespeare's 'The Tempest', from Lelio London Symphony; Pierre Boulez, conductor. Sony 64103

Et war wärend enger Partie Kaart, wou den Hector Berlioz déi éischt Skizze vu sengem Oratorium "L'enfance du Christ" gemaach huet. 1854 war d'Uropféierung vun dësem Wierk tëschent Intimitéit an Theatralik, dat de Philharmoneschen Orchester Lëtzebuerg an d'Gächinger Cantorey gëschter Owend ënner der Direktioun vum Hans-Christoph Rademann opgeféiert huet. De radio 100,7 huet zesummen mat SR2 KulturRadio de Concert live iwwerdroen, an de Guy Engels hat sech am Virfeld mam Dirigent Hans-Christoph Rademann ënnerhalen.

"...today all [the] intelligent and sensitive souls, on whom his genius has shed its radiance, turned to him as toward a benefactor and a friend.”

durée : 00:28:40 - Avec Cécile Reynaud et Gisèle Séginger - par : Philippe Venturini - "Si j'évoque les peintures de Delacroix et de Cabanel, il y a des chances que votre esprit mette le cap à l'est vers l'Orient, qui aura fasciné et inspiré le XIXe siècle et ses artistes. Peintres, écrivains et compositeurs. Parmi eux Berlioz, Flaubert que je propose de rencontrer" Philippe Venturini - réalisé par : Laurent Lefrançois

This week is the first of a series of episodes focusing on songs with orchestral accompaniment. The genre is almost a contradiction in terms: the intimacy and textual focus of art song with the sometimes strenuous vocal demands of singing over an orchestra. The most celebrated and successful of such songs (by Berlioz, Mahler, Ravel, Barber, Strauss, and others) are heard over and over on symphonic concerts when vocal soloists are the featured guests. And rightly so, for they are among the most glorious classical music written for the human voice. Typically for Countermelody, however, today's episode, however, will focus on repertoire and composers that are less celebrated to the point of being virtually unknown. Composers heard include Frank Martin, Alexander Zemlinsky, Jean Sibelius, Giuseppe Martucci, Franz Schreker, Othmar Schoeck, Antonín Dvořák, Alberto Ginastera, Alphons Diepenbrock and the two Andrés, Jolivet and Caplet, alongside many others, performed by such favorites as Gwyneth Jones, Phyllis Curtin, Peter Schreier, Gundula Janowitz, Yi-Kwei Sze, Mirella Freni, Francisco Araiza, Elisabeth Söderström, and Bernard Kruysen. Also heard are Helen Donath and Andrzej Hiolski, singers soon to be featured on their own episodes, alongside lesser-remembered names such as Arthur Loosli, Irene Gubrud, and Colette Herzog. Conductors include Kurt Sanderling, Antal Doráti, Herbert Kegel, Bohumil Gregor, Hermann Scherchen, and Lorin Maazel. I “guarantee” that your ears will be enchanted and your musical horizons will be expanded by this episode. Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly support at whatever level you can afford. Bonus episodes available exclusively to Patreon supporters are currently available and further bonus content including interviews and livestreams is planned for the upcoming season.

durée : 01:30:09 - En pistes ! du vendredi 02 décembre 2022 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Ce matin, la musique italienne du XVIIe siècle interprétée par l'ensemble La Palatine mais aussi la musique de Berlioz chantée par Michael Spyres ou encore celle de Granados interprétée par Manuel Barrueco à la guitare.

Michael Spyres has won three Gramophone Awards: Opera and Recording of the Year in 2018 for Berlioz's Les troyens, and Voice and Ensemble in 2022 for 'Baritenor', an album that reveals his remarkable vocal range. Now, again for Erato and in the company of his Trojans conductor, John Nelson, he has recorded Les nuits d'été – but in the original keys and in Berlioz's envisaged registers. James Jolly spoke to Michael Spyres about his approach to the Berlioz songs, and also about whether he considers himself a tenor or a baritone these days.

The geneticist and broadcaster Adam Rutherford tells Michael Berkeley how his passion for music allows him to escape the rigours of science and enjoy the emotional side of life. Adam Rutherford's career in science has taken him from a PhD on the role of genetics in eye development to becoming a well-known broadcaster who campaigns against pseudoscience and racism. Presenter of Radio 4's Start the Week and The Curious Cases of Rutherford and Fry, he's also the author of six bestselling books; a lecturer at University College London; and the recipient of the Royal Society David Attenborough Award for outstanding public engagement with science. Adam shares some astonishing facts about our genes and our common ancestry: everyone of European descent is definitely directly descended from the eighth-century Emperor Charlemagne – and from the person who cleaned his boots. Adam was a music scholar at school and his passion for the violin started with lessons at the age of four and culminated in playing with his teacher in Berlioz's Symphonie Fantastique. We also hear his favourite piece of violin music, Beethoven's Violin Concerto. Adam is the President of Humanists UK but asks for music from his two musical gods, Bach and Radiohead. Producer: Jane Greenwood A Loftus Media production for BBC Radio 3

durée : 00:57:47 - Michael Spyres, ténor, de Figaro à Idoménée - par : Aurélie Moreau - Trois enregistrements viennent de paraître avec Michael Spyres, baryténor qui n'a peur "ni des intervalles, ni des écarts, ni des aigus" : Les Nuits d'été de Berlioz, Theodora de Haendel et la Messa di Gloria de Rossini (Erato, oct./nov. 2022).

Guest conductor Erina Yashima leads the Charlotte Symphony in a program that includes Beethoven's Triple Concerto and Berlioz's Symphonie Fantastique . Yashima recently finished her tenure as Assistant Conductor of the Philadelphia Orchestra. And she recently started in her new position as First Kapellmeister at the Komische Oper Berlin. She talks about the works on the orchestra program, the differences between American and European orchestras, and the importance of music education in her native Germany. Pictured: Erina Yashima by Todd Rosenberg Photography/ Askonas Holt .

Though the great diva Grace Bumbry has often been featured on Countermelody, I have not yet done a full episode on this incomparable artist. Today's episode seeks to remedy that, and to celebrate a singer whose contribution and influence extends back many decades and continues to this very day. Normally when I consider an artist so well-renowned, I try to offer a perspective that sheds different light on that singer. So today's Bumbry celebration considers three aspects of her artistry that have received somewhat less attention. While her successes in a wide range of mezzo soprano repertoire are well-known and well-documented, her soprano assumptions have been somewhat more controversial. I highlight numerous scenes and arias, including from Macbeth, Salome, Turandot, and Nabucco, in both live and studio performances, that shed light on the enormous prowess and fearlessness with which she confronted these roles. Alongside such larger-than-life impersonations are Bumbry's intimate and detailed performances as a Lieder singer, a tribute to her training under that matchless singer and teacher Lotte Lehmann, with whom Bumbry studied at the Music Academy of the West. Recordings of art song by Schubert, Schumann, Brahms, Strauss, Liszt, and Berlioz, made over the course of 45 years are also a testament to Bumbry's vocal longevity and technical prowess. In recent years, Grace Bumbry has devoted her time to the care, nurturing, and training of young singers under the aegis of a program she has named “The Bumbry Way.” The episode closes with a definitive performance of the song “My Way,” which incorporates and encapsulates all the colors of this extraordinary singer in all her fearlessness, self-assurance, determination, vulnerability, and strength. Evviva “The Bumbry Way!” Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly support at whatever level you can afford. Bonus episodes available exclusively to Patreon supporters are currently available and further bonus content including interviews and livestreams is planned for the upcoming season.  

Berlioz, Beatrice and Benedict Overture Chopin, Prelude in C# minor Martinu, Cello Concerto #1, 3rd movt Saints Saens, Fantaisie in E flat, for organ Mahler, Das Lied von der Erde, 4th movt Bartok, Roumanian Folk Dances Haydn, Symphony #86, 1st movt This show was broadcast on OAR 105.4FM Dunedin - oar.org.nz

This concert was recorded for AFRTS on August 6, 1946. Leopold Stokowski conducts The Hollywood Bowl Symphony Orchestra. Compositions heard composed by Berlioz, Debussy, Hindemith, R. Strauss, Copland and Wagner.

On this week's episode of Beethoven Walks into a Bar, we welcome our first guest conductor of the season, Venezuelan Domingo Hindoyan who will conduct the orchestra and Kansas City Symphony Chorus in a program of Mendelssohn, Brahms and Berlioz. We'll learn all about his upbringing in Venezuela's El Sistema music schools, his short time as a conductor spy, and how his mother made her way from Aleppo to South America. We also make stomach's grumble with a chat about arepa, chimichurri, ceviche, empanadas, chupe, dulce de leche and other South American cuisines.. This week on Beethoven Walks into a Bar.

durée : 00:25:10 - Berlioz, Roméo et Juliette, l'amour de Shakespeare - par : Anne-Charlotte Rémond - Dans cet épisode de Musicopolis, Anne-Charlotte Rémond revient sur Roméo et Juliette, une symphonie dramatique d'Hector Berlioz, d'après la plume de Shakespeare ! - réalisé par : Claire Lagarde

Was besagt die Locard'sche Regel und wer war Dr. Edmond Locard? Wie funktioniert Luminol? Und welches Verbrechen geschah 1911 im Louvre?  Genanntes Buch: DER MONA LISA SCHWINDEL von Deborah Dixon. Musik: Enrico Caruso singt Berlioz. Wenn Ihnen gefällt, was wir tun und Sie uns unterstützen möchten-> https://www.paypal.me/krimikiosk. ACHTUNG: Wir haben zur Zeit ein Feed-Problem. Neu-Abos funktionieren nicht! Wir arbeiten daran. Nächste Sendung am 27.10.2022. Impressum der Sendung ->https://krimikiosk.de/impressum-2/  

Die Siebte war für Beethoven der wohl größte Erfolg seiner Karriere. Die Sinfonie strotzt vor rhythmischem Elan. Das berühmte "Allegretto" diente als Soundtrack in unzähligen Filmen. Und die Uraufführung war eine politische Demonstration gegen die Unterdrückung Europas durch Napoleon. (Autor: Michael Lohse) Von Michael Lohse.

In the mid 19th century, the way to make yourself famous in France as a composer was to write operas. From Cherubini, to Meyerbeer, to Bizet, to Berlioz, to Gounod, to Massenet, to Offenbach, to Saint Saens, to foreign composers who wrote specifically for the Paris Opera like Rossini, Verdi and others, if you wanted to be somebody, especially as a French composer, you wrote operas, and you wrote a lot of them. But one composer in France bucked the trend, and her name was Louise Farrenc. Farrenc never wrote an opera - instead she focused on chamber music, works for solo piano, and three symphonies that were in a firmly Germanic style. Writing in a style that was not en vogue in her home country, along with the obvious gender imbalances of the time, meant that you might expect that Farrenc was completely ignored during her life. But that's not the case. She had a highly successful career as a pianist, a pedagogue, and yes, as a composer too. But after her death, her music was largely forgotten. Bu in the last 15-20 years there has been a concerted effort at bringing Farrenc's music back to life, part of a larger movement to rediscover the work of composers who were unfairly maligned or treated during their lifetimes and after. One of Farrenc's greatest works, and the one we're going to be talking about today, is her 3rd symphony in G Minor. On the surface this is a piece in the mid-to-late German Romantic symphonic tradition, with lots of echoes of Mendelssohn and Schumann, but there's a lot more to it than that. So today on this Patreon sponsored episode, we'll discuss how Farrenc's music fit into French musical life, how a symphony was a still expected to sound in 1847, and of course, this dramatic and powerful symphony that is only now beginning to find its rightful place on stage. Join us!

Synopsis We tend to think of Paris as the most sophisticated and worldly of European capitals – a city whose residents are unlikely to be shocked by anything they see or hear. Ah, but that's not always the case, as poor Hector Berlioz discovered on today's date in 1838, when his new opera “Benvenuto Cellini” premiered at the Paris Opéra. One line in the libretto about the cocks crowing at dawn was considered, as Berlioz put it, “belonging to a vocabulary inconsistent with our present prudishness” and provoked shocked disapproval. And that was just the start of a controversy that raged over both the morality and the music of this new opera. Following the dismal opening night, Berlioz wrote to his father: “It's impossible to describe all the underhanded maneuvers, intrigues, conspiracies, disputes, battles, and insults my work has given rise to… The French have a positive mania for arguing about music without having the first idea – or even any feeling – about it!” From the fiasco of the opera's premiere, however, Berlioz did retrieve some measure of success. His famous contemporaries Paganini and Liszt both admired the work – and said so – and one flashy orchestral interlude from “Benvenuto Cellini” did prove a lasting success when Berlioz recast it as a concert work: his “Roman Carnival Overture.” Music Played in Today's Program Hector Berlioz (1803-1869) –Benvenuto Cellini and Roman Carnival Overtures (Staatskapelle Dresden; Sir Colin Davis, cond.) BMG/RCA 68790

The world changed yesterday with the death of Queen Elizabeth II, whose subjects in the United Kingdom just this summer celebrated the 70th year of her reign. How do I, as a progressive (and non-British) person, neither a royalist nor an imperialist, commemorate her passing with the respect that she deserves? I found my answer, as I so often do in other of life's conundrums, in the artistry of Janet Baker, who celebrated her 89th birthday on 17 August, and who, in her day was often known as “the English Rose.” There is something about Baker's artistic personality: her nobility of utterance, her gravitas, her humanity, that made her a particularly striking interpreter of various queens in the operatic literature, from Alceste and Dido to Mary Stuart. And because, from the time of her Carnegie Hall debut in 1966 until her final appearance there in 1989, seven years after her official retirement from the operatic scene, she was a fixture of the New York concert scene, she also fits quite comfortably into the framework of this summer's celebration of musical life in New York between the years 1950 and 1975. Her towering operatic performances of roles by Gluck, Donizetti, Berlioz, and Purcell, are balanced with her profoundly moving performances of music by Bach, Gurney, and Schubert. Queen Elizabeth II is further memorialized by an excerpt from the world premiere performance of Benjamin Britten's Gloriana, composed for, and premiered six days after, her coronation in 1953. Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly support at whatever level you can afford. Bonus episodes available exclusively to Patreon supporters are currently available and further bonus content including interviews and livestreams is planned for the upcoming season.  

Two hours of great music from the world's best-loved composers including Beethoven, Mozart, Haydn, Bizet, Borodin, Tchaikovsky, Strauss, Berlioz, Rachmaninov, and many more. Presented by John Low

durée : 00:24:57 - Hector Berlioz, Symphonie fantastique - par : Anne-Charlotte Rémond - La création de la « Symphonie fantastique », le 5 décembre 1830, est sans doute l'évènement le plus important de la vie musicale de Berlioz. Anne-Charlotte Rémond vous invite à suivre le jeune compositeur qui vient, en une soirée, de bouleverser l'environnement sonore de ses contemporains. - réalisé par : Claire Lagarde

Die Fantasie der Musiker, Schriftsteller und Künstler richtete sich im 19. Jahrhundert auf Italien. Auch Felix Mendelssohn ging auf Bildungsreise. Der Ruf eines Wunderkindes eilte ihm voraus, auch wenn er längst nun erwachsen war. Mit der Fantasie eines Literaten berichtete später ein berühmter Franzose in seinen Erinnerungen von seiner Begegnung mit dem Deutschen. Anfang einer Freundschaft?

Superar a ilusão da separatividade tem sido um exercício constante para a filósofos ao longo da história. Confúcio, Sócrates, Platão, Pitágoras, os estóicos e muitos outros apresentam tratados que apontam sobre o necessário esforço de educação para que as diferenças sejam superadas e a humanidade caminhe para a sua evolução. Quer vir conosco? Dá o play! Participantes: José Roberto e Danilo Gomes Trilha Sonora: H. Berlioz - a condenação de Fausto op. 24 Balé dos Silfos

Where did Lord Byron and Percy Shelley come to scribble down their verses? Where did Bizet and Berlioz go to discuss their work? Where could Casanova be found trying to pick up girls? Caffè Greco, where else? Having opened in 1760, Antico Caffè Greco is the oldest café in Rome and the second-oldest in all of Italy! And you can still go there and sit where Hawthorne, Ibsen, Gogol, Goethe, Canova, and many many other literary, art, and musical greats rubbed elbows and drank coffee. On this episode, we visit the famous café, grab some espresso ourselves, and discuss what it feels like to drink coffee in the same place so many brilliant thinkers over the generations did the same. ------------------------------------- ADVERTISE WITH US: Reach expats, future expats, and travelers all over the world. Send us an email to get the conversation started. BECOME A PATRON: Pledge your monthly support of The Bittersweet Life and receive awesome prizes in return for your generosity! Visit our Patreon site to find out more. TIP YOUR PODCASTER: Say thanks with a one-time donation to the podcast hosts you know and love. Click here to send financial support via PayPal. (You can also find a Donate button on the desktop version of our website.) The show needs your support to continue. START PODCASTING: If you are planning to start your own podcast, consider Libsyn for your hosting service! Use this affliliate link to get two months free, or use our promo code SWEET when you sign up. SUBSCRIBE: Subscribe to the podcast to make sure you never miss an episode. Click here to find us on a variety of podcast apps. WRITE A REVIEW: Leave us a rating and a written review on iTunes so more listeners can find us. JOIN THE CONVERSATION: If you have a question or a topic you want us to address, send us an email here. You can also connect to us through Twitter, Facebook, and Instagram. Tag #thebittersweetlife with your expat story for a chance to be featured! NEW TO THE SHOW? Don't be afraid to start with Episode 1: OUTSET BOOK: Want to read Tiffany's book, Midnight in the Piazza? Learn more here or order on Amazon. TOUR ROME: If you're traveling to Rome, don't miss the chance to tour the city with Tiffany as your guide!

Synopsis In the 19th century, the German spa town of Baden-Baden was the place to be in the summer. Wealthy international tourists could bathe in artesian wells by day, and by night, gamble at the casino or attend performances at a splendid theater modeled on the Paris Opera. That theater opened on today's date in 1862 with the premiere of a new comic opera by the French composer Hector Berlioz, based closely on Shakespeare's comedy ‘Much Ado About Nothing', and titled “Beatrice and Benedict” after the witty pair of lovers in the play. The composer himself conducted. “A great success,” Berlioz wrote the next day. “…applauded from beginning to end. I was recalled to the stage I don't know how many times.” Despite the success, Berlioz confessed, “My infernal neuralgia was so bad that I mounted the podium …without feeling the slightest emotion. This bizarre indifference meant I conducted better than usual!” Despite making light of his increasing illness, possibly Crohn's Disease, this opera proved to be his last work, and Berlioz had only a few more years to live. His biographer David Cairns writes: "Listening to the score's exuberant gaiety, only momentarily touched by sadness, one would never guess that its composer was in pain when he wrote it and impatient for death.” Music Played in Today's Program Hector Berlioz (1803–1869) –”Beatrice and Benedict” Overture (Boston Symphony; Charles Munch, cond.) RCA Victor Gold Seal 61400

Jess's guest this week is the guitarist and composer Laura Snowden. They meet in the TCL studio for a listening party which revels in the beauty of John Tavener's choral music; unwraps a piece for guitar by the Australian composer and synesthete Phillip Houghton during which explores the range of sounds possible to obtain from the instrument; pauses in the sound world of Laurie Anderson, and follows Berlioz's musical journey into psychedelia. Playlist: John Tavener: The Lamb (Tenebrae, Nigel Short, conductor) Burt Bacharach/Hal David: I say a little prayer (Aretha Franklin) Lauryn Hill: Miseducation of Lauryn Hill (Lauryn Hill) Buxton/Ratcliffe/Kekaula: Good Luck (Basement Jaxx, Lisa Kekaula) Laurie Anderson: O Superman (Laurie Anderson) Trad (Bulgarian): Bučimiš (Avi Avital, mandolin, Itamar Doari, percussion) Phillip Houghton: Wave Radiance (Los Angeles Guitar Quartet) Hector Berlioz: Symphonie Fantastique, Op. 14 - V Dream of a witches' Sabbath (Orchestre de Paris, Charles Munch, conductor)

It's a 78 RPM Sunday and back to the time of Shakespeare we go. The music was conceived due to the composer's love of an actress. The orchestra recorded here was assembled to lure the conductor out of Italy. So, get ready to hear excerpts from one of the most famous love stories in history with Volume 83: Toscanini Conducts Berlioz. Credits and copyrights NBC Symphony Orchestra Conducted By Arturo Toscanini – Romeo And Juliet Opus 17, Dramatic Symphony Excerpts Label: RCA Victor Red Seal – DM-1160 Format: 3 x Shellac, 12", 78 RPM, Album Released:  Genre: Classical Style: Romantic Rome Seul, Tristesse, Concert Et Bal, Grand Fete Chez Capulet (Part 1) Rome Seul, Tristesse, Concert Et Bal, Grand Fete Chez Capulet (Part 2) Rome Seul, Tristesse, Concert Et Bal, Grand Fete Chez Capulet (Concluded) Scene D'Amour (Part 1) Scene D'Amour (Part 2) Scene D'Amour (Concluded) I do not own the rights to this music. ASCAP, BMI licenses provided by third-party platforms for music that is not under Public Domain.

Synopsis Playing in a marching band isn't always as easy as it looks. Imagine the predicament in which Berlioz found himself on today's date in 1840, conducting 210 musicians under a broiling noonday sun as they slowly progressed to the Place de Bastille. To commemorate the 10th anniversary of the French “July” Revolution of 1830, a memorial column had been erected on the spot where the Bastille once stood, and the remains of fallen revolutionary heroes were being transferred to a cenotaph at the foot of the column, accompanied by Berlioz's specially commissioned “Funeral and Triumphal Symphony,” composed for massed military bands. Berlioz himself, in full military uniform and conducting with a saber, led the solemn procession that hot July day. In a letter to his father, Berlioz wrote: “The old know-it-alls were claiming that I'd never manage to have my symphony performed on the march and that my 210 musicians wouldn't stay together for even 20 bars. So I placed the trumpets and drums in front so that I could give them the beat while walking backwards. I planned it so that in the opening bars these instruments play by themselves, so they could be heard by the rest of the band. The symphony's march and finale were played six times, on the march, with an ensemble and effect that were truly extraordinary.” Music Played in Today's Program Hector Berlioz (1803-1869) – Symphonie funebre et triomphale (London Symphony; Sir Colin Davis, cond.) Philips 416 283

Soprano Larisa Martínez will perform with violinist Joshua Bell and the Philadelphia Orchestra in a program of duets. “Voice and Violin” is scheduled for Friday, July 29, 2022, at the Saratoga Performing Arts Center and will feature a broad range of music from Berlioz to Bernstein. Michael Stern will conduct.It's a special concert that the musical couple began creating at home together in Mount Kisco, New York, during the COVID-19 lockdown. They took their time finding music for voice and violin they really liked and wanted to perform together. It is a pleasure to welcome Joshua Bell and Larisa Martinez to The Roundtable.

Nicola Campogrande"MiTo Settembre Musica"https://www.mitosettembremusica.it/itUn cartellone comune tra Torino e Milano che esplora le relazioni tra la musica e la luce attraverso grandi capolavori e creazioni inedite. 116 concerti per la sedicesima edizione, con ospiti internazionali, eccellenze nazionali e programmi appositamente impaginati per un Festival sempre più inclusivo. Seguendo il filo conduttore del tema “Luci”, tutti i programmi dei concerti sono impaginati appositamente per proporre al pubblico una nuova esperienza d'ascolto, indagando le relazioni tra la musica e la luce: si tratta di sinestesie tra suoni e immagini che a volte emergono esplicitamente dalle indicazioni scritte dal compositore in partitura, come chiaro, scuro o luminoso, e altre volte sono il frutto di riflessioni suggerite dall'ascolto della musica.«L'idea, il gioco della luce è applicato a un cartellone che, volutamente, propone molti capolavori, pagine fondamentali, capisaldi della musica classica – spiega il direttore artistico Nicola Campogrande. Perché, soprattutto in un periodo complicato e drammatico come quello che stiamo attraversando, ci sembra bello e importante fare una sorta di appello ai brani che hanno segnato la storia, invitandoli metaforicamente ad essere con noi, a manifestarsi in sala da concerto come punti fermi, appigli culturali».Questa edizione intende, quindi, “illuminare” le grandi pagine della storia della musica attraverso accostamenti inediti, interpretazioni originali e nuove chiavi di lettura, anche con brani in prima esecuzione.Alcuni dei pilastri su cui si fonda l'edizione 2022 – ovvero internazionalità, capisaldi della musica classica e novità – sono già evidenti nella serata d'apertura del Festival intitolata “Luci immaginarie”, in programma lunedì 5 settembre all'Auditorium “Giovanni Agnelli” del Lingotto di Torino e martedì 6 settembre al Teatro alla Scala di Milano. Protagonista una grande compagine rinomata nel mondo come la londinese Philharmonia Orchestra diretta per l'occasione da John Axelrod, che propone capolavori come Peer Gynt di Grieg e Shéhérazade di Rimskij-Korsakov, abbinate alla prima esecuzione italiana di The imagined forest della giovanissima e pluri-premiata compositrice inglese Grace-Evangeline Mason. O ancora nel concerto conclusivo tutto mozartiano dal titolo “Cristalli”, sabato 24 settembre al Conservatorio di Torino e domenica 25 settembre al Conservatorio di Milano, dove la Mahler Chamber Orchestra, formazione europea nata nel 1997 sotto l'egida di Claudio Abbado, presenta senza direttore un programma inusuale con Leif Ove Andsnes in veste di solista.Tra gli ulteriori appuntamenti sinfonici da non perdere si segnalano il graditissimo ritorno al Festival, nella doppia veste di direttrice d'orchestra e soprano, della canadese Barbara Hannigan, che sul podio dell'Orchestra dell'Accademia Nazionale di Santa Cecilia propone la Sinfonia Il miracolo di Haydn e la Quarta Sinfonia di Mahler cantando nel Lied finale Das himmlische Leben (La vita celeste), il 16 al Teatro Dal Verme di Milano e il 17 all'Auditorium del Lingotto di Torino. Immancabile l'Orchestra Sinfonica Nazionale della Rai, guidata dal suo Direttore ospite principale, lo statunitense di origini messicane Robert Trevino, che affianca la Symphonie Fantastique di Berlioz alla prima italiana di The wonder of life di Régis Campo, il 9 all'Auditorium Rai di Torino e il 10 al Conservatorio di Milano. Concerto festoso, poi, per celebrare i duecento anni di indipendenza del Brasile con i giovani dell'effervescente Neojiba Orchestra - Orchestra Giovanile dello Stato di Bahia, diretta da Ricardo Castro, insieme a un'istituzione del pianoforte come la portoghese Maria João Pires che suona il Terzo Concerto op. 37 di Beethoven. Ritmi, colori e strumenti sudamericani sono parte della serata grazie alle pagine di Antônio Carlos Gomez, Heitor Villa Lobos e Jamberê Cerqueira, il 13 al Conservatorio di Milano e il 14 all'Auditorium del Lingotto di Torino.Altri attesi ritorni al Festival sono la leggenda del pianoforte Ivo Pogorelich, impegnato nel recital “Luci erranti” con fantasie di Mozart, Chopin e Schumann e con il Prélude di Ravel, il raffinato tenore inglese Ian Bostridge, che canta Les illuminations op. 18 di Britten, e ancora il violista Nils Mönkemeyer, che suona con il Bach Consort Wien in un concerto che esplora il barocco e il Novecento tra Sudamerica ed Europa.Scorrendo il programma di MITO gli amanti della musica barocca, e in particolare di Johann Sebastian Bach, trovano una ricca offerta declinata in concerti con musicisti di prestigio e proposte nelle quali i brani sono accostati in modo inusuale o vengono ripensate alcune pietre miliari del repertorio. Quattro pagine tra le più celebri del grande compositore tedesco sono interpretate dall'Amsterdam Baroque Orchestra diretta da Ton Koopman, mentre è curioso il concerto intitolato “La doppia arte della fuga”, nel quale il compositore Reinhard Febel, col suo Diciotto studi sull'Arte della fuga di Bach, rilegge il capolavoro, di cui si ascoltano tutte le note, in una sorta di remix – che suona molto attuale nell'epoca del digitale – affidato al Duo Tal & Groethuysen. Ed è ancora l'ascolto di un Bach insolito quello delle Variazioni Goldberg eseguite dal fisarmonicista Samuele Telari, così come è un concerto davvero singolare quello con due clavicembali accordati in due modi diversi e suonati da Luca Guglielmi.Tanta è l'attenzione che quest'anno MITO SettembreMusica dedica al pubblico dei più piccoli, ampliando e arricchendo la proposta artistica con novità assolute e grandi interpreti. E lo dimostrano anche i tre melologhi per adulti e bambini che contengono ben due commissioni del Festival 2022 in prima esecuzione assoluta: quella a Carlo Boccadoro, che ha creato Animalia – su testi di Martino Gozzi – per “Luci bestiali” (il 10 a Torino e l'11 a Milano), e quella a Federico Gon, che ha composto Il piccolo Franz e il pifferaio magico per “Monelli” (il 24 a Torino e il 25 a Milano). Sul palco del primo concerto Laura Curino come voce recitante e l'Ensemble Cameristico dell'Orchestra Filarmonica di Torino diretto dallo stesso Boccadoro, e del secondo Elio come voce recitante (al suo ritorno dopo l'edizione dello scorso anno) e l'Orchestra degli allievi dei Conservatori di Torino e Milano diretti da Andreas Gies. Infine, i giovani de LaFil guidati da Marco Seco, con la voce recitante di Licia Maglietta, sono protagonisti dell'appuntamento dal titolo “Elefanti”, che propone un doppio Babar: quello celebre dell' Histoire de Babar le petit éléphant di Poulenc e quello del compositore François Narboni intitolato Le voyage de Babar, creato sfruttando un testo originale di Brunhoff non utilizzato da Poulenc (17 a Torino e 18 a Milano).È in prima esecuzione assoluta, inoltre, la nuova versione da camera del melologo Enoch Arden op. 38 di Richard Strauss realizzata da Ruggero Laganà, impegnato anche al pianoforte, che vede protagonista l'attrice Lella Costa come voce recitante (il 19 a Torino, il 20 Milano). Luce accesa, poi, sulle prime esecuzioni italiane, tra cui spiccano One di James MacMillan e I still dance di John Adams interpretate rispettivamente dall'Orchestra I Pomeriggi Musicali diretta da James Feddeck (l'8 a Torino e il 9 a Milano) e da quella del Teatro Regio di Torino guidata da Stanislav Kochanovsky (il 23 a Torino e il 24 a Milano), impegnate in due programmi tra Inghilterra e Scozia e tra Stati Uniti e Francia.L'edizione 2022 di MITO SettembreMusica introduce altre due importanti novità. La prima è la presenza di un festival nel festival con quattordici pianisti italiani che offrono in luoghi decentrati delle due città altrettanti concerti monografici dedicati a grandi compositori, per approfondirne la cifra stilistica, la poetica e la tecnica pianistica. Dal Beethoven di Andrea Lucchesini al Rachmaninov di Alessandro Taverna, dallo Schubert di Filippo Gorini allo Skrjabin di Mariangela Vacatello, passando per lo Chopin di Gloria Campaner, il Liszt di Maurizio Baglini e il Čajkovskij di Benedetto Lupo, solo per citarne alcuni. L'altra vede – per la prima volta – la nascita di una residenza artistica al Festival. Si tratta del finlandese Meta4 Quartet, già applaudito nella scorsa edizione, che tiene tre concerti in entrambi i capoluoghi: suona in Absolute Jest di John Adams insieme all'Orchestra Sinfonica di Milano (sul podio Patrick Fournillier), pagina che rimanda a Beethoven e alla sua Nona, in programma grazie alla partecipazione del Coro del Teatro Regio di Torino, dopo aver ripercorso l'intera storia del quartetto d'archi, da Boccherini ad Adams, in due diversi appuntamenti. Uno degli aspetti distintivi del Festival è offrire appuntamenti in orari diversi nell'arco dell'intera giornata, da quelli serali in sedi prestigiose, come l'Auditorium "Giovanni Agnelli" del Lingotto, il Teatro alla Scala, l'Auditorium Rai "Arturo Toscanini", il Teatro dal Verme e i rispettivi conservatori delle due città, a quelli diurni, per arrivare a estendersi nei luoghi decentrati. Sono confermate le introduzioni all'ascolto dei concerti, quest'anno curate da Alberto Brunero e Stefano Catucci a Torino e da Gaia Varon, Oreste Bossini e Nicola Pedone a Milano.I prezzi sono ancora una volta molto contenuti: quelli per i concerti serali vanno dai 10 ai 25 euro (ma chi è nato dal 2008 in poi paga solo 5 euro); quelli serali in luoghi decentrati con i 14 pianisti italiani, gli appuntamenti pomeridiani e per i bambini sono invece proposti a 5 euro; non mancano, poi, i concerti gratuiti.IL POSTO DELLE PAROLEascoltare fa pensarehttps://ilpostodelleparole.it/

durée : 01:00:00 - Les Nuits de France Culture - par : Philippe Garbit - En 1989, "Euphonia" proposait une émission intitulée "Les ruines romantiques à la recherche du passé, les châteaux", l'émission diffuse des œuvres de Schumann, Donizetti, Wagner, Berlioz et Schubert. La musique est mise en résonnance avec le thème des ruines dans les dessins de Victor Hugo.

1864 – Héctor Berlioz, en un paseo por Lyon se encuentra con un antiguo amor a quien no veía hace 40 años. Era Estela Fornier. Le escribe casi de inmediato, ella responde, aparentemente, con mucho menos entusiasmo que él. Al final, cuando vuelve a París, Berlioz le escribe la siguiente carta. En la voz, Bárbara Espejo.

Continuamos amigos con la filosofía del siglo XIX. Durante un tiempo nos vamos a ocupar de los positivistas y sobre todo de su figura central que es Augusto Comte. De este hemos escuchado ya su vida y ahora toca ir desgranando su sistema: su filosofía, su sociología y su extraña religión (recordemos que su maestro Saint-Simon también había instituido una secta). En el audio de hoy, que es muy importante, vamos a dar cuenta de las líneas generales del pensamiento de Augusto y el trasfondo de su ideología. En el siguiente audio veremos su famosa ley de los tres estadios. *** Música: La sinfonía Fantástica de Berlioz. ***** Pulsen un Me Gusta y colaboren a partir de 2,99 €/mes si se lo pueden permitir para asegurar la permanencia del programa e incluso poder abrir otros en paralelo (recientemente ya lo he hecho con un Curso de Historia de la Iglesia católica > https://www.ivoox.com/podcast-curso-de-historia-de-la-iglesia-catolica_sq_f11227544_1.html ). ¡Muchas gracias a todos!

I find it fascinating that many of the greatest composers of the 19th century—composers such as Berlioz, Schumann, Chopin, Mendelssohn, Wagner, Brahms, Dvorák, and Tchaikovsky—knew one another, and in many cases had very friendly personal and musical relationships.

We preview the Racine Symphony's concert this Saturday night - the conclusion of their 90th anniversary season - with conductor Pasqual Laurino and concert pianist David Fung. On the program: the Symphonie Fantastique by Berlioz and Piano Concerto #1 by Tchaikovksy.

Benaroya Hall, Seattle 2 November 2017 Broadcast Ian Bostridge Seattle Symphony Orchestra

"Music…embraces at once the real and the ideal…"

La damnation de Faust (English: The Damnation of Faust), Op. 24 is a work for four solo voices, a full seven-part chorus, a large children's chorus, and an orchestra by the French composer Hector Berlioz. He called it a "légende dramatique" (dramatic legend).  It was first performed at the Opéra-Comique in Paris on 6 December 1846. Purchase the music (without talk) at:Berlioz: The Damnation of Faust (classicalsavings.com)Your purchase helps to support our show! Classical Music Discoveries is sponsored by La Musica International Chamber Music Festival and Uber. @CMDHedgecock#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

In episode ten of Secrets and Consequences, our party continues their journey on a raft in the middle of the ocean searching for the main shipping lanes and hoping a ship will find them. Tensions are high as Berlioz and Obelius struggle for power over an item that the rest of the party desperately wants to separate them from. Meanwhile, something has been awakened and emerges from the depths. Will the party ever make it to safety? Tune in to find out more! Our players consist of: Vicki - Host & Dungeon Master Colleen - Playing Snotknuckle, a Goblin Blood Hunter Justin - Playing Obelius, a Minotaur Barbarian Teri Jo - Playing Amafrey, a Human Sorcerer Jason - Playing Berlioz Flutaré, a High Elf Bard Taylor - Playing Dustin Steele, a Human Cleric Thanks for listening! If you enjoy our stuff, please consider sharing with your friends, leaving a review and/or rating, and checking us out on social media! https://www.facebook.com/secretsandconsequences https://www.instagram.com/secretsandconsequences/ https://twitter.com/secretsandcons https://www.secretsandconsequences.net/ Credits: Adventure Module based off of adventure written by Adventures Await: https://www.patreon.com/adventuresawait/ Random Encounter Tables by Bardic Tales and artandstarstuff: https://www.patreon.com/bardic_tales https://artandstarstuff.tumblr.com/

Benvenuto Cellini is an opera semiseria in two acts with music by Hector Berlioz and libretto by Léon de Wailly and Henri Auguste Barbier. It was the first of Berlioz's operas, premiered at the Académie Royale de Musique (Salle Le Peletier) on 10 September 1838. The story is inspired by the memoirs of the Florentine sculptor Benvenuto Cellini, although the elements of the plot are largely fictional. The opera is technically very challenging and rarely performed. However, the overture to the opera sometimes features in symphony orchestra programs, as does the concert overture Le carnaval romain which Berlioz composed from material in the opera.Purchase the music (without talk) at:Berlioz: Benvenuto Cellini (classicalsavings.com)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

Matthew Bannister on Bruce Page, the investigative journalist best known for leading the Sunday Times Insight team's expose of the Thalidomide scandal. Dottie Frazier, the pioneering American scuba diver who kept a boa constrictor as a pet and rode a motorcycle until she was in her nineties. Josephine Veasey, the British mezzo-soprano acclaimed for her performances in works by Wagner and Berlioz. And Maynard Davies, who left school unable to read and write, went on to become a well-known bacon curer and chronicled his extraordinary life in a series of books. Producer: Neil George Interviewed guest: Magnus Linklater Interviewed guest: Peter Kellner Interviewed guest: Alec Peirce Interviewed guest: Karen Straus Interviewed guest: Una Barry Interviewed guest: Karen McCall Archive clips used: AP Archive, How West Germany Treats Thalidomide Children 10/12/1972; BBC One, The Editors: Press and Politicians 02/07/1978; Alec Peirce Scuba Channel, Dottie Frazier - A Diving Legend 09/01/2020; BBC Radio 4, A Musical Evening - Josephine Veasey 01/08/1985; YouTube - TheScottReaProject/Channel 4, Interview with Maynard Davies 1996; BBC Radio 4, The Food Programme - Interview with Maynard Davies 23/07/2000; AmericanRhetoric.com/YouTube Channel, Madeleine Albright - International Women's Day speech 08/03/2010.