Podcast appearances and mentions of bernard labadie

In his 2019 CSO debut, Spanish guitarist Pablo Sáinz-Villegas thrilled with “the profundities of his art,” along with “the sheen of his tone and the nobility of his rhythms,” wrote the Chicago Tribune. Sáinz-Villegas joins the ensemble in two pieces with bright Mediterranean character. Bernard Labadie, making a welcome return to the CSO, conducts the program, which also features dark-hued symphonies by Mozart and Boccherini. Learn more: cso.org/performances/22-23/cso-classical/boccherini-vivaldi-and-mozart-40

Over the course of making this podcast, I have encountered conductors who just want to tell you everything and my chat with Bernard Labadie was one such encounter. It is a deeply frank, honest, and candid interview! We discuss the perils of conducting accompanied recitatives, he was brutally honest about his career as an opera conductor, and his answer to Question 8 went down a very dark path indeed! If you would like to discover a whole lot more about conductors and conducting, why not subscribe at https://www.patreon.com/amiconthepodium, and, for a monthly fee starting from just £5 a month, you can access two new series of interviews, group Zoom meetings with other fans of the podcast and myself, a monthly bulletin about the podcast and my own career as well as articles, photos, videos and even conducting lessons from myself. If you listen via Apple podcasts, please do leave a rating and review - it really helps the podcast get noticed and attract more listeners. If you want to get involved on social media, you can via Facebook (https://www.facebook.com/amiconthepodium) or Twitter (@amiconthepodium). This interview was recorded on 2nd January 2023 via Zoom.

Reconnu comme l'un des plus grands chefs d'orchestre du répertoire baroque dans le monde, Bernard Labadie a fondé sa vie sur la musique. Mais le silence lui est essentiel. «J'ai de la difficulté à comprendre de notre monde moderne sa nécessité de devoir remplir le silence. Le silence est une chose pleine de vertus.»

Este audio contiene una selección de música de Mozart, para calmar a su bebé y darle una suave introducción a la música clásica. Temas: Kurpfälzisches Kammerorchester Mannheim, Florian Heyerick 00:00:00 Allegro 00:05:17 Rondo, allegro 00:09:16 Menuetto Derek Han, Klavier, Philharmonia Orchestra, Paul Freeman 00:11:00 Andante, Elvira Madigan’, aus Klavierkonzert C-Dur KV 467 Kurpfälzisches Kammerorchester Mannheim, Florian Heyerick 00:17:50 Romanze La Petite Bonde, Sigiswald Kuyken 00:22:25 Ouvertüre Le Nozze die Figaro Marc Grauwels, Flöte: Gisela Herbert, Harfe: Les Violons du Roy, Bernard Labadie 00:26:54 Andantino, aus Konzert für Flöte, Harfe & Orchester C-Dur KV 299 Emmy Verhey, Violine: Concertgebouw Kammerorchester, Eduardo Marturet 00:35:03 Adagio für Violine & Orchester E-Dur KV 261 Martin van de Merwe, Horn: Niederländisches Kammerorchester, Roy Goodman 00:43:28 Rondo aus Hornkonzert No.1 Es-Dur KV 261 Kurpfälzisches Kammerorchester Mannheim, Florian Heyerick 00:46:53 Allegro, aus Flötensonate B-Dur KV10 Ronald Karten, Fagott: Amsterdam Sinfonietta, Lev Markiz 00:50:56 Rondeau, aus Fagottkonzert B-Dur KV 191 Pieter-Jan Belder: fortepiano 00:54:52 Variationen über, Ah, vous-dirai je, Maman’ C-Dur KV 256 Capella Istropolitana, Nicole Matt 01:07:08 Marsch D-Dur KV 335 No.1

There are lots of transcriptions and arrangements of Bach's Goldberg Variations, including some for jazz ensemble, saxophone quartet, and marimba. One arrangement is by Canadian conductor Bernard Labadie, and this one’s for strings and harpsichord. It sticks pretty closely to Bach’s original work, filling it in with Baroque instrumentation. Back in 2018, the Australian Chamber Orchestra played this arrangement of the Goldbergs at the iconic Sydney Opera House. And now, as part of its initiative to make digital content available while the hall is closed, you can watch it online.

This podcast features an interview with tenor James Gilchrist, in which we discuss a variety of topics relating to being a singer: - psychology of performance, particularly, in somewhere like the Wigmore Hall where he was singing that evening. - the way audiences might perceive song recitals, and what performers can do to engage them regarding such perceptions. - the balance between what artists do on stage to communicate with their audience, e.g., how much is moving around or maintaining eye contact? - interpretation of narrative in lieder repertoire. - the challenges and privileges of being a medical doctor (which James initially started as), and making the transition to becoming a full-time professional performer. - comparing the experience of music college versus university. Many thanks to James for coming especially to London in the morning to record, as well as Tamsin Raitt and the staff at Wigmore Hall for arrangements for the interview! Podcast published on 13th February 2020; recorded on 8th February 2020 in the Gerald Moore Room, Wigmore Hall, London. James Gilchrist began his working life as a doctor, turning to a full-time career in music in 1996. His musical interest was fired at a young age, singing first as a chorister in the choir of New College, Oxford, and later as a choral scholar at King’s College, Cambridge. James’ extensive concert repertoire has seen him perform in major concert halls throughout the world. Bach’s Christmas Oratorio and the St John and Matthew Passions feature prominently in his schedule, and he is celebrated as perhaps the finest Evangelist of his generation. Recent engagements include Elijah in Goteborgs Symfoniker and Masaaki Suzuki, Handel’s Messiah with the Handel & Haydn Society in Boston, with Bernard Labadie, and Beethoven’s Missa Solemnis with Singapore Symphony Orchestra. In the 2019-20 season appearances include the role of Rev. Horace Adams Peter Grimes with Bergen Philharmonic Orchestra conducted by Edward Gardner in London and Norway, St Matthew Passion with City of Birmingham Symphony Orchestra conducted by Richard Egarr, and a tour of Europe with Bach Collegium Japan and Masaaki Suzuki. Listen and subscribe to the Talking Classical Podcast on SoundCloud, iTunes and Spotify. SoundCloud – @talkingclassicalpodcast Facebook – @talkingclassicalpodcast Twitter – @tc_podcasts YouTube - https://bit.ly/2WF4duy Blog – talkingclassicalpodcast.wordpress.com

Patricia Marx is a staff writer at The New Yorker, and has contributed pieces for thirty years. Still, it might not be too late to try out a new career. “There are some jobs and endeavors that look impossibly hard,” she notes. “But conducting [an orchestra]—I just thought, How hard, really, can it be?”  Prepared with a little coaching from the real-life conductor Bernard Labadie, and armed with an eight-dollar baton from Amazon, Patty Marx takes a stab at conducting the prestigious Orchestra of St. Luke’s through Hayden’s Symphony No. 45. Marx doesn’t want to do a passable job of conducting the piece; she wants to give it her own unique stamp. With that goal in mind, she devises a set of sui-generis conducting techniques derived from daily activities like hailing a cab, or yoga. “I want to be one of the greats,” Marx says. Plus, the New Yorker’s Kelefa Sanneh sings the praises of his favorite Christian rockers.

Chronique publicité avec Arnaud Granata et Marie-Claude Ducas - Le point sur la réadaptation à l'institut Pinel:Discussion - Rencontre avec le chanteur Patrick Norman et sa femme Nathalie Lord - On se met à table:Discussion autour de la cuisine autochtone - À venir à Midi info avec Michel C. Auger - Citoyenneté numérique:Entrevue avec Evelyne Lussier et deux élèves - Rencontre avec le chef d'orchestre Bernard Labadie

At arts orgs, how should power be shared when, in addition to the Executive Director, there is also a creative director who is, perhaps, the most important leader of all? My guests explain how their very successful shared leadership model really works for them, and ultimately results in a beautiful symphony.

At arts orgs, how should power be shared when, in addition to the Executive Director, there is also a creative director who is, perhaps, the most important leader of all? My guests explain how their very successful shared leadership model really works for them, and ultimately results in a beautiful symphony. The post Ep 51: A Symphony of Shared Leadership (with Jim Roe and Bernard Labadie) appeared first on Joan Garry Nonprofit Leadership.

Quand René Homier-Roy rencontre Bernard Labadie, on a la preuve que même si on est un flûtiste médiocre, on peut devenir un grand chef d'orchestre.

Violinverk av Nielsen med Helsingborgs symfoniorkester och Cecilia Zilliacus, det är en av skivorna som recenseras denna vecka. Dessutom blir det musik av Verdi, Haydn och Martin. I panelen sitter Bodil Asketorp, Magnus Lindman, Sofia Nyblom och programledaren Johan Korssell som betygsätter följande skivor: JOSEPH HAYDN Pianokonserter Hob. XVIII:3, 4 och 11 Jean-Efflam Bavouzet, piano Manchester Camerata Gábor Takács-Nagy, dirigent Chandos CHAN 10808CARL NIELSEN Verk för violin (Vol 2) Violinkonsert op 33 m.m. Cecilia Zilliacus, violin Helsingborgs symfoniorkester Daniel Blendulf, dirigent dB Productions DBCD 162BOHUSLAV MARTINU Rapsodi-konsert, Tre madrigaler m.m. Maxim Rysanov, viola m.fl. BBC Symfoniorkester Jirí Belohlávek, dirigent Bis BIS 2030GIUSEPPE VERDI Aida Anja Harteros, Jonas Kaufmann m.fl. Santa Cecilia-akademins kör och orkester Antonio Pappano, dirigent Warner Classics 0825646106639Simon Rattle intervjuas av Albert EhrnroothUnder sin tid som chefsdirigent för Birminghams symfoniorkester kreerade Simon Rattle en komplett utgåva av Sibelius symfonier. Nu har han varit chefsdirigent för Berlins filharmoniker i 13 år och det är åter dags att skåda en box med de sju symfonierna. Utgiven på eget märke.Andra nämnda eller rekommenderade inspelningar- Haydns klaverkonserter med pianisten Marc-André Hamelin tillsammans med Les Violons du Roy under dirigenten Bernard Labadie inspelad på Hyperion. - Nielsens violinkonsert med Nikolaj Znaider som solist med New Yorks filharmoniker ledda av Alan Gilbert på Dacapo; violinisten Vilde Frang och Danska radions symfoniorkester under Eivind Gullberg Jensen på Warner Classics samt med Emil Telmányi som spelar tillsammans med Danska radions symfoniorkester dirigerad av Egisto Tango inspelad 1947 på skivmärket Danacord. - Verdis opera Aida med Leontyne Price i titelrollen och med Georg Solti på pulten framför Rom-operans orkester på Decca; sopranen Renata Tebaldi och Wiens filharmoniker ledda av Herbert von Karajan på märket Alto; Cristina Gallardo-Domas som Aida tillsammans med  Wiens filharmoniker och dirigenten Nikolaus Harnoncourt på skivmärket Warner Classics samt på DVD med Nina Stemme och dirigenten Adam Fischer på plats framför Zürich-operans orkester på märke Bel Air.

Edward Blakeman (author of Faber Pocket Guide to Handel) hosts a discussion Bernard Labadie before the AAM's performance of Handel's Messiah in December 2013.Recorded live at the Barbican, London on 17 December 2013.

Bernard Labadie discusses Bach's "Christmas Oratorio," explaining that while Bach wrote for people, he truly wrote for God. He saw it as his duty to maximize his God-given talent "to create new worlds."