Podcasts about Carlo Maria Giulini

durée : 00:20:48 - Disques de légende du vendredi 28 mars 2025 - En 1980 paraissait chez Deutsche Grammophon les deux concertos de Chopin par Krystian Zimerman et Carlo Maria Giulini à la tête de l'Orchestre Philharmonique de Los Angeles. Un choc !

durée : 00:20:48 - Disques de légende du vendredi 28 mars 2025 - En 1980 paraissait chez Deutsche Grammophon les deux concertos de Chopin par Krystian Zimerman et Carlo Maria Giulini à la tête de l'Orchestre Philharmonique de Los Angeles. Un choc !

On February 10th, our beloved diva Leontyne Price celebrated her 98th birthday. Of course she is recognized for her performances of the operas of Verdi, but in my opinion, she was even more suited, uniquely so, to the music of Richard Strauss. Sadly, she only sang one operatic role by Strauss, but we can be grateful that she consistently programmed his Lieder over the course of her long career. I offer you as complete a selection of Leontyne Price (assisted by her able collaborative pianist David Garvey) singing Strauss as you are likely to find anywhere, including live performances from Salzburg, St. Paul, and Carnegie Hall from between 1975 and 1991, as well as excerpts from two of her most beautifully-sung studio recordings, one from 1959, the other from 1979. The episode is capped with two of her earliest (and finest) performances of two songs from the Vier letzte Lieder, both from March 1971, one in Chicago with Carlo Maria Giulini, and the other from Carnegie Hall with Stanislaw Skrowaczewski. 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 or yearly support at whatever level you can afford.

durée : 01:28:56 - Carlo Maria Giulini, chef d'orchestre mythique - par : Aurélie Moreau - Carlo Maria Giulini sur la musique et les compositeurs : « Ce don immense, inestimable, qu'ils ont fait à l'humanité, l'interprète, qui n'est qu'un petit homme ordinaire face à des géants, a la terrible responsabilité de le transmettre ». (L'Express).

Perlman i el Concert per a viol

In the first year of Countermelody I posted a tribute to to the Mexican tenor Francisco Araiza on the occasion of his 70th birthday. Four years later, that great artist is still with us, and, today, in continuation of my miniseries on Great Mexican Singers, I present a refurbished and expanded bonus episode that I first published three years ago featuring Araiza in art song. A number of live performances are interspersed amongst excerpts from two rare LPs from the mid-1980s: one, accompanied by Irwin Gage, of some rare Schubert Lieder; and the other, accompanied by Jean Lemaire, of French, Spanish, and Mexican art songs. These performances reveal a voice of great beauty supported by a solid technique which provides for seamless legato singing. Add to this near-perfect German diction and an often-probing textual acuity as well as profound musicality and one has all the ingredients that make up an exceptional intepreter of art song. Highlights include a live recording with Carlo Maria Giulini of an excerpt from Mahler's Das Lied von der Erde; the extended Schubert Lied “Viola;” and three Mexican art songs by Blas Galindo and Manuel Ponce; as well as two bracing excerpts from Araiza's 1986 album of popular Mexican song. 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.

Inauguramos una serie de programas en los que se escucharán y analizarán finales de acto o de sección de algunas de las óperas más célebres. Empezamos con Las bodas de Fígaro de Mozart, una obra maestra absoluta, para muchos la obra lírica más perfecta del compositor salzburgués, lo que ya es decir mucho. Abrimos con el maravilloso cierre del segundo acto en el que desde un dúo, el de la Condesa y el Conde, se va pasando paulatinamente a un trío, un cuarteto, un quinteto hasta desembocar en el octeto postrero. El plan armónico y rítmico, el enlace entre un número y otro, el caudal melódico convierten a la página en un auténtico monumento que no se cansa uno de escuchar una y otra vez. Empleamos para describir y ejemplificar la versión dirigida en 1994 por Claudio Abbado con voces como las de Cheryl Studer, Boje Skovhus, Lucio Gallo, Sylvia McNair, Anna Caterina Antonacci, Ildebrando d’Arcangelo, Carlo Allemano e Istvan Gati. Y la Filarmónica de Viena. La segunda parte del programa está dedicada al finale del cuarto acto, otra página magistral en el que, tras una serie de equívocos, se deshacen los entuertos y la Condesa otorga el perdón a su marido. En este caso escuchamos la versión dirigida por Carlo Maria Giulini en 1961 a un equipo vocal en el que intervenían Elisabeth Schwarzkopf, Eberhard Wächter, Giuseppe Taddei, Anna Moffo y Fiorenza Cossotto entre otros. Orquesta Philharmonia de Londres.Escuchar audio

This Countermelody episode is the last in my miniseries featuring artists from Baltimore. It is also the last in my new episodes for Black History Month 2024 featuring “Forgotten Divas.” Today I offer to you the absolutely divine soprano of Veronica Tyler (1939-2020), who fits all three categories. In the 1960s, Veronica Tyler was a name on everyone's lips: she appeared on three different episodes of Leonard Bernstein's Young People's Concerts, she was the second prize winner of the International Tchaikovsky Competition in Moscow in 1966, the first time this venerable contest had featured singers, she was a featured artist at the New York City Opera, where, in their first season at Lincoln Center, she sang a Pamina in The Magic Flute of such humanity and transcendent vocal beauty that audiences were transported into another world. She sang under conductors Leopold Stokowski, Erich Leinsdorf, Zubin Mehta, Eugene Ormandy, Carlo Maria Giulini, Robert Shaw, and Stanislaw Skrowaczewski. Later on she made a belated Met debut in 1985 as Serena in their premiere production of Porgy and Bess, but gradually her high profile appearances became fewer and fewer and eventually she disappeared from view. Her death on 21 March 2020 was only announced three months later, and with little fanfare. But during her heyday, Veronica Tyler was among the most elegant, compelling, and ingratiating lyric sopranos in the business. I have scoured the archives to bring to light some of the artist's most beautiful performances, some of them virtually unheard for decades, including a 1980 album of spirituals that ranks among the best of this repertoire ever committed to disc. What inexpressible joy it brings me to present to you the unforgettable Veronica Tyler! 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.

durée : 00:26:09 - Disques de légende du mercredi 17 janvier 2024 - Pour ce disque de légende, deux icônes de la musique interprètent le Concerto de Brahms, le violoniste Itzhak Perlman et le chef Carlo Maria Giulini.

Laura Boella"Con voce umana"Arte e vita nei corpi di Maria Callas e Ingeborg BachmannPonte alle Graziewww.ponteallegrazie.itMilano, 1956. La scrittrice austriaca Ingeborg Bachmann assiste al Teatro alla Scala alla prova generale di Traviata con la regia di Luchino Visconti, la direzione di Carlo Maria Giulini e Maria Callas nel ruolo di Violetta. Quell'esperienza la scuote al punto da farle scrivere: «Che cosa sia la grande arte, che cosa sia un'artista l'ho capito il giorno in cui ho ascoltato la cantante Maria Callas». Le parole che, a distanza di anni, la scrittrice dedica a quell'incontro testimoniano qualcosa che va oltre l'ammirazione per una grande interprete ;in esse risuona un messaggio che toccala vera natura dell'arte e la sua capacità di avvicinarsi all'assoluto, di incarnare qualsiasi esperienza. Ma cosa era successo quel pomeriggio? E cosa ci racconta, oggi, quell'incontro, di noi? Per comprenderlo, Laura Boella è andata a caccia delle due artiste che, dietro la maschera del mito – due "Divine", nei rispettivi campi – hanno vissuto, ciascuna a suo modo, “sul filo del rasoio”. Prigioniere del pregiudizio, ostaggi della notorietà, pericolosamente esposte; eppure, e forse proprio per questo, capaci di far risuonare, nella sua irriducibilità, la propria voce: "una voce umana".Laura Boella è stata professore ordinario di Filosofia Morale e di Etica dell'ambiente presso il Dipartimento di Filosofia dell'Università Statale di Milano. Ha dedicato numerosi studi e traduzioni al pensiero di György Lukács e di Ernst Bloch, volgendosi successivamente al pensiero femminile del '900. Ha inoltre sviluppato il tema delle relazioni intersoggettive, dell'empatia e della simpatia, proponendo un confronto critico tra l'attuale ricerca scientifica e la prospettiva fenomenologica. Tra le sue pubblicazioni, Sentire l'altro. Conoscere e praticare l'empatia (2006), Neuroetica.La morale prima della morale (2008), Il coraggio dell'etica. Per una nuova immaginazione morale (2012), Le imperdonabili. Milena Jesenská, Etty Hillesum, Marina Cvetaeva, Ingeborg Bachmann, Cristina Campo (2013), Empatie. L'esperienza empatica nella società del conflitto (2018), Hannah Arendt. Un difficile umanesimo (2020), Cuori pensanti. Cinque brevi lezioni di filosofia per un tempo difficile (2020).IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itQuesto show fa parte del network Spreaker Prime. Se sei interessato a fare pubblicità in questo podcast, contattaci su https://www.spreaker.com/show/1487855/advertisement

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Continuamos nuestro recorrido por la obra y escuchamos, todavía dentro del Dies irae, el Recordare, el Ingemisco, el Confutatis y el Lacymosa en la versión dirigida por Carlo Maria Giulini en Londres con las voces solistas de Ilva Ligabue, Grace Bumbry, Sandor Konya y Raffaele Ariè (1964). El tan operístico Ofertorio cuenta con la dirección de Tullio Serafin. Versión grabada en 1939 en la que cantaban Maria Caniglia, Ebe Stignani, Beniamino Gigli y Ezio Pinza (total nada). Después, el Sanctus bajo la tensa dirección de Karajan (Viena, 1954). Cerramos con el mismo fragmento dirigido en este caso por Antonio Pappano con las huestes de Santa Cecilia de Roma (2009).Escuchar audio

Andrés Amorós en su ciclo dedicado a los grandes directores de orquesta centrándose en el italiano que sólo recibió elogios.

Don Giovanni is a staple of the opera repertoire, a definitive masterpiece by one of the most prolific composers in history. Listen in as mezzo soprano Jennifer Johnson Cano expertly guides you through all the drama and intrigue of this familiar tale in our latest episode of BlinkOpera! Welcome to Season 3 of The Atlanta Opera Podcast's BlinkOpera, the series built to give you an introduction to operas told from the artists who actually perform them and know them intimately. So, let's listen to the highlights, unpack the plot, and hear about performance anecdotes in a time-efficient and fun way! Recording: Mozart: Don Giovanni: Philharmonia Orchestra & Chorus; Carlo Maria Giulini; Parlophone Records Ltd; 1961

durée : 00:17:20 - Disques de légende du lundi 03 octobre 2022 - Le Requiem de Mozart dirigé par Carlo Maria Giulini

durée : 01:58:02 - Relax ! du lundi 03 octobre 2022 - par : Lionel Esparza - Barbara Hannigan : La musique comme volonté et comme représentation. En disque de légende, Requiem de Mozart dirigé par Carlo Maria Giulini

Synopsis A fiery horse with the speed of light, a cloud of dust, and a hearty “Hi-yo, Silver!” Generations of American baby boomers first heard Rossini's “William Tell” Overture as the opening credits of the old Lone Ranger TV western, but we suspect only a few of them ever realized the overture by an Italian composer was written for a French opera about a Swiss archer, which was adapted from a German play by Friedrich Schiller. Like a Facebook relationship, “It's complicated.” Anyway, Rossini's “William Tell” was first heard in Paris on today's date in 1829. Rossini hoped “William Tell” would be considered his masterpiece. Ironically, the complete opera is only rarely staged these days, but the “William Tell” overture became a familiar concert hall showpiece – SO familiar, in fact, as to become something of a musical cliché. The Russian composer Dimitri Shostakovich gave a dark 20th-century spin to Rossini's overly familiar theme, when he quoted the “William Tell” overture in the opening movement of his Symphony No. 15. In the context of Shostakovich's enigmatic final symphony, Rossini's jaunty little theme comes off like a forced smile, and audiences are free to read whatever political subtext they wish into its rather sinister context. Music Played in Today's Program Gioacchino Rossini (1792-1868) –William Tell Overture (Philharmonia Orchestra; Carlo Maria Giulini, cond.) EMI 69042 Dimitri Shostakovich (1906-1975) –Symphony No. 15 in A, Op. 141 (London Philharmonic; Mariss Jansons, cond.) EMI 56591 On This Day Births 1884 - Russian-born American composer Louis Gruenberg, near Brest-Litovsk (Julian date: July 22); 1896 - Russian inventor Lev Sergeivitch Termen (anglicized to Leon Theremin) in St. Petersburg (Gregorian date: August 15) Deaths 1784 - Italian composer and teacher Giovanni Battista Martini, age 78, in Bologna; His students included Gluck, Mozart, Grétry, and Jommelli; Premieres 1829 - Rossini: opera, "Guillaume Tell" (William Tell), at the Paris Opéra; 1941 - Robert Russell Bennett: Symphony in D ("For the Dodgers"), in New York; 1961 - John Cage: "Atlas Eclipticalis," at the "International Week of Today's Music," in Montréal; 1967 - Lalo Schifrin: cantata, "The Rise and Fall of the Third Reich" (adapted from the composer's filmscore) by the Los Angeles Philharmonic at the Hollywood Bowl, with Lawrence Foster conducting; Others 1668 - German composer Dietrich Buxtehude marries the daughter of Franz Tunder, retiring organist at St. Mary's Church in Lübeck, as a condition to succeed Tunder in his position at St. Mary's; It is thought that both Handel and J.S. Bach were both interested in the position - but not in Tunder's daughter; 1778 - Milan's famous Teatro alla Scala (La Scala) opens with a performance of “L'Europa riconosciuta” by Italian opera composer Antonio Salieri, a work written specially for the occasion; The theater took its name from the site previously occupied by the church of Santa Maria della Scala (named after Bernabo Visconti's wife, Beatrice della Scala); This same opera, conducted by Riccardo Muti, was performed on Dec. 7, 2004 at the Gala reopening of La Scala after three years of major renovation; 1779 - Mozart finishes in Salzburg his "Posthorn" Serenade; 1795 - The Paris Conservatory of Music is founded by the National Revolutionary Convention. Links and Resources On Rossini On other famous radio themes

durée : 01:58:42 - Été Classique Matin du mardi 19 juillet 2022 - par : Aurélie Moreau - Au menu d'été classique ce matin, nous entendrons un rêve d'amour de Franz Liszt, Manon de Massenet, Don Giovanni par Carlo Maria Giulini, une ballade de Brahms et bien d'autres réjouissances ! - réalisé par : Catherine Prin-Le Gall

durée : 00:18:44 - Disques de légende du lundi 02 mai 2022 - Aujourd'hui dans Disques de légende, nous écoutons la symphonie n°8 d'Anton Bruckner par l'Orchestre Philharmonique de Vienne dirigé par Carlo Maria Giulini.

durée : 01:57:48 - Relax ! du lundi 02 mai 2022 - par : Lionel Esparza - Au sommaire du Diapason du mois de mai : un dossier sur les compositrices, un entretien avec Daniel Baremboim sur le conflit en Ukraine, ou Les Leçons des Ténèbres de Couperin en oeuvre du mois. Et en disque de légende, la 8e symphonie d'Anton Bruckner par Carlo Maria Giulini. - réalisé par : Antoine Courtin

Hello and welcome to Bittersweet Symphony, a podcast where classical musicians share the bitter, the sweet and the bittersweet of life when the concert halls shut their doors and the music stopped. I'm Cliodhna Ryan, violinist, member of the Irish Chamber Orchestra and freelancer. In this episode, I'm chatting to Cormac Ó hAodáin, principal horn with the RTE Concert Orchestra. He shares the bitter experience of his Mum being ill, becoming a carer overnight, and the burnout that followed. His sweet memory is of regular meetups on Zoom with a community of musicians and composers, facilitated by the Contemporary Music Centre in Dublin. His bittersweet is while isolation was challenging, he felt equipped to handle it after a decade of living alone. Between 1993-1996, Cormac represented Ireland in the European Union Youth Orchestra, working with such eminent maestros as Carlo Maria Giulini, Bernard Haitink, Mstislav Rostropovich and Vladimir Ashkenazy. In 1997 he joined the Royal Philharmonic Orchestra and in 1999 became a member of the Philharmonia Orchestra. Cormac moved back to Ireland in 2009 to join the RTÉ Concert Orchestra as principal horn. Since his return to Ireland, he has established the Cassiopeia Wind Quintet and joined the teaching staff of the Royal Irish Academy of Music. He is currently doing a Masters in Conducting at TU Dublin, under the mentorship of David Brophy. CREDITS Thumbnail Art || Colm MacAthlaoith Songwriters || Mick Jagger, Richard Ashcroft, Keith Richards Violin || Cliodhna Ryan Production || Cliodhna Ryan Mastering || Patrick Stefan Groenland GET IN TOUCH WITH CORMAC/LINKS Cassiopeia Winds Contemporary Music Centre Norah Walsh GET IN TOUCH WITH BITTERSWEET SYMPHONY Instagram Twitter Facebook #bittersweetsymphony

durée : 01:58:39 - Relax ! du mercredi 27 octobre 2021 - par : Lionel Esparza - Aujourd'hui dans Relax!, retour sur les belles sorties discographiques du moment. En seconde partie, nous évoquerons la figure musicale qu'est Bruno Procopio, à l'occasion de son nouveau projet Jeune Orchestre Rameau. En disque de légende : Romeo et Juliette de Berlioz par Carlo Maria Giulini. - réalisé par : Antoine Courtin

durée : 00:24:08 - Disques de légende du mercredi 27 octobre 2021 - En Disques de Légende, nous écoutons aujourd'hui la nuit d'amour de Romeo et Juliette de Berlioz, par Carlo Maria Giulini dirigeant l'Orchestre Symphonique de Chicago.

John Holt is Professor of Trumpet at the University of North Texas. Holt is also principal trumpet with the Dallas Opera Orchestra, a position he has held since 1989. Holt was the recipient of the 2016 UNT Creative Impact Award. This award highlights “a full-time University faculty member whose publications, performances, or exhibitions in the literary or creative arts have had the greatest societal impact”. The consummate musical artist, Holt has appeared as a soloist with orchestras throughout the United States and Europe. He has two opera excerpt books published by Harold Gore Publishing, “Trumpet Excerpts From Italian Operas” in 2018 and “Trumpet Excerpts From European Operas”  in 2020.  His CD recording “Facets 4” released by the International Trumpet Guild in 2016, was Holt's eighth solo CD recording. His seven previous solo recordings, all on the Crystal Records label, have received unanimous critical acclaim by industry publications Fanfare, American Record Guide, Instrumentalist, Gramophone and the International Trumpet Guild.  Born in Dallas, TX, Holt began studying trumpet at the age of 12 with Richard Giangiulio, former Principal Trumpet of the Dallas Symphony. He continued his studies at the University of Miami with Gilbert D. Johnson, former Principal Trumpet of the Philadelphia Orchestra. At age 22, Holt performed as Co-Principal Trumpet of the Philharmonic Orchestra of Ft. Lauderdale, under the direction of Emerson Buckley. At age 24, Holt became Principal Trumpet of the Orchestra del Maggio Musicale Fiorentino in Florence, Italy, Zubin Mehta, music director. While in Italy, Holt had the great privilege of playing under some of the world's most renowned conductors including Luciano Berio, Georges Prétre, James Conlon, Gerd Albrecht, Carlos Kleiber, Krzysztof Penderecki, Riccordo Chailly and Carlo Maria Giulini. At the invitation of artistic director and conductor Nicola Rescigno, Holt became Principal Trumpet of the Dallas Opera Orchestra in 1989. He received distinguished opera service awards in 1999, 2004, 2009, 2014 and 2019. Holt's orchestral discography includes numerous recordings with the Dallas Symphony Orchestra, Fort Worth Symphony Orchestra, The Dallas Opera Orchestra and The Voices of Change. In this interview with Prof. Holt, you'll discover: -How freak diving injury led to greater awareness as a trumpeter...01:15 -What opportunities for trumpeters exist now that didn't exist in the 70's...07:20 -The higher you go up the pyramid, the less competition there will be...11:45 -How trumpet is like a turtle...15:55 -How to know a student is ready to progress to the next level...19:30 -How Gil Johnson transformed American orchestral playing...28:20 Credits: Trumpet Dynamics: The Story of the Trumpet, In the Words of Those Who Play It Host: James Newcomb Guest: John Holt Opening music: "Folklore" by https://bigbigtrain.com (Big Big Train) Closing music: "Creepin' With Clark" written and performed by Mike Vax Audio editing by: Show notes prepared by:

durée : 01:58:44 - Au coeur de l'orchestre - par : Christian Merlin - Cet été, Christian Merlin vous propose de réécouter quelques émissions sélectionnées d' "Au coeur de l'orchestre". Aujourd'hui, rediffusion de l'émission du 7 février 2021, sur Carlo Maria Giulini. - réalisé par : Marie Grout

durée : 00:58:50 - Giulini dirige Don Giovanni, et le pianiste Vadym Kholodenko - par : Aurélie Moreau - Une grande version du Don Giovanni de Mozart celle de Carlo-Maria Giulini captée en 1959 à Londres, quelques enregistrements du pianiste Vadym Kholodenko et aussi Antal Dorati qui dirige merveilleusement la musique de Tchaïkovski. - réalisé par : Louise Loubrieu

durée : 00:20:09 - Disques de légende du jeudi 06 mai 2021 - En 1978, le violoncelliste Mstislav Rostropovitch enregistre pour EMI les concertos d'Antonin Dvorak et de Camille Saint-Saëns, avec l'Orchestre philharmonique de Londres placé sous la direction de Carlo Maria Giulini. Un monument !

durée : 01:58:34 - Relax ! du jeudi 06 mai 2021 - par : Lionel Esparza - Au sommaire de notre émission, les pianistes Vlado Perlemuter et Claudio Arrau dans Chopin, Ravel et Liszt, Cecilia Bartoli dans les opéras de Steffani, et en disque de légende la rencontre de deux géants : Mstislav Rostropovitch et Carlo Maria Giulini dans les concertos de Saint-Saëns et Dvorak... - réalisé par : Antoine Courtin

durée : 00:12:29 - Disques de légende du lundi 26 avril 2021 - Entre septembre 1963 et avril 1964, le chef d'orchestre italien Carlo Maria Giulini enregistre pour EMI le célèbre Requiem de Gisueppe Verdi, avec l'Orchestre et le Chœur Philharmonia, et en solistes un quatuor légendaire : Elisabeth Schwarzkopf, Christa Ludwig, Nicolai Gedda et Nicolai Ghiaurov.

durée : 01:58:14 - Carlo Maria Giulini - par : Christian Merlin - Grand seigneur de la direction, Carlo Maria Giulini laisse le souvenir d’un chef pour qui la musique était un acte d’amour inséparable d’une dimension sacrée. Retour sur une vie musicale d’une noblesse peu commune, quel que soit le répertoire. - réalisé par : Marie Grout

durée : 00:29:34 - Disques de légende du mercredi 27 janvier 2021 - En novembre 1979, Carlo Maria Giulini et l'Orchestre philharmonique de Los Angeles enregistrent un disque de musique française, pour le label Deutsche Grammophon. Au programme, "La Mer" de Debussy, et deux œuvres de Maurice Ravel : la "Rapsodie Espagnole", et une bouleversante "Ma Mère l'Oye"...

Vandaag: Beethovens Mis in C   1. Mis in C op. 86 Elly Ameling; Janet Baker; Theo Altmeyer; Marius Rintzler. New Philharmonia Chorus; New Philharmonia Orchestra olv. Carlo Maria Giulini. 2. Elegischer Gesang, Op. 118 Saint Louis Symphony Orchestra; Saint Louis Symphony Chorus, Jerzy Semkow 3. Opferlied, WoO 126 Peter Schreier, tenor; Walter Olbertz, piano. […]

durée : 01:58:51 - Relax ! du vendredi 20 novembre 2020 - par : Lionel Esparza - On commence avec un petit portrait du pianiste Emile Naoumoff, à 16h on poursuit avec notre disque de légende, la "Rhapsody in Blue" de George Gershwin par lui-même, et on termine avec le Concerto pour violoncelle de Camille Saint-Saëns, par Mstislav Rostropovitch et Carlo Maria Giulini ! - réalisé par : Antoine Courtin, Olivier Guérin

durée : 01:58:26 - Relax ! du mercredi 21 octobre 2020 - par : Lionel Esparza - Suite de notre série de portraits de chefs gentils : après Charles Münch et Carlo Maria Giulini, on s'intéresse aujourd'hui à Bruno Walter, immense musicien et personnalité attachante. Et à 16h, on écoute l'interprétation légendaire des Préludes de Frédéric Chopin par la pianiste Martha Argerich. - réalisé par : Antoine Courtin

durée : 01:58:56 - Relax ! du mardi 20 octobre 2020 - par : Lionel Esparza - Dans ce deuxième épisode de notre série de portraits de chefs d'orchestre aimés par les musiciens, on dresse le portrait de l'italien Carlo Maria Giulini. Et à 16h, notre légende du jour est le disque qui a marqué la naissance de l'ensemble Le Poème Harmonique... - réalisé par : Antoine Courtin

Louise Glück, winner of the 2020 Nobel Prize for Literature, uses simple, unsentimental language in her poems to evoke overwhelming emotions. That rare combination is what has distinguished her as one of America's greatest living poets for over half a century. In addition to the Nobel Prize, she has also been awarded the Pulitzer Prize, and is former Poet Laureate of the United States. In this episode, Glück (pronounced glick) digs into the torment and uncertainty that has hounded her throughout her writing life. She talks about how teaching poetry, which she feared would diminish her art, instead allowed it to flourish. And she describes her obsessive desire to hear music in her ears, and language in her head. This episode originally aired in July, 2017. *The excerpt of Don Giovanni is from a Warner Classics recording, conducted by Carlo Maria Giulini, with Eberhard Wachter and Joan Sutherland.

durée : 00:58:37 - Les Beethoven d'Arturo Benedetti Michelangeli - par : Aurélie Moreau - "Qui était ce pianiste, je peux le dire, qui était cet homme, cela reste un secret." Ce sont les mots empruntés au chef Carlo-Maria Giulini lors de son hommage à Arturo Benedetti Michelangeli. - réalisé par : Louise Loubrieu

durée : 00:17:39 - Disques de légende du mardi 01 septembre 2020 - L'un des spectacles les plus célèbres de l'histoire ! En mai 1955, Maria Callas interprète Violetta dans une production de La Traviata de Giuseppe Verdi donnée à la Scala de Milan, et mise en scène par Luchino Visconti. L'orchestre est placé sous la direction du chef italien Carlo Maria Giulini.

Pour le tout dernier épisode de la saison 2019-2020, une vaticination particulière vous est proposée… Tout en approfondissant, amplifiant et fortifiant notre fervente passion pour le culte du Black, nous allons entreprendre un ahurissant détour vers un tout autre genre musical, pareillement noir de méphistophélique potentiel, mais davantage élitiste, ésotérique et vilainement outrageuse pour les non-initiés et les pauvres d'esprit. Bouillonnant de haines misanthropiques, de sombres méditations existentielles, de désespoirs nauséabonds, de ferveurs ancestrales et d'anxiétés apocalyptiques, voici douze compositions de l'éternel génie des Noirceurs au cœur de la musique savante. ☩ LISTE LITURGIQUE ☩ 1. Carlo Maria Giulini avec la Berliner Philharmoniker et la Ernst Senff Chor (Allemagne) - Messa da requiem : 2, Dies irae « Tuba mirum » (de Guiseppe VERDI) 2. Charles Dutoit avec l'Orchestre symphonique de Montréal (Québec) - Carmina Burana : 1, « O Fortuna » (de Carl ORFF) 3. Anna Meredith et la Scottish Ensemble (Écosse) - Concerto no. 4 en fa mineur, op. 8, RV 297, « L'inverno » (de Antonio VIVALDI) 4. Nemanja Radulovic et Les Trilles du Diable (France) - Toccata et fugue en D mineur, BmV 565 (de Johann Sebastian BACH) 5. Georg Solti avec la Wiener Philharmoniker (Autriche) - Götterdämmerdung, WWV 86D, acte 3 : « Trauermarsch » (de Richard WAGNER) 6. Peter Oundjian avec la Toronto Symphony Orchestra (Ontario) - The Planets : 1. « Mars, the Bringer of War » (de Gustav HOLST) 7. Thomas Dausgaard avec Hetna Regitse Bruun, Peter Lodahl, la Dansk Nationalt Kor, la Dansk Nationalt Vokalensemble et la danske nationale symfoniorkester (Danemark) - Endens tid, BVN 243 : IV, « La Catastrophe » (de Rued LANGGAARD) 8. Olivier MESSIAEN avec Lise Arseguest (France) - Poèmes pour mi, no.4, « Épouvante » (de Olivier MESSIAEN) 9. Juan Pablo Izquierdo avec la Cuarteto Latinoamericano et la Carnegie Mellon Philharmonic Orchestra (International) - Black Angels (13 Images from the Dark Land), partie 1 « Return » : no. 13, Threnody III, « Night of the Electric Insects » (de George CRUMB) 10. Sir Simon Rattle avec la City of Birmingham Symphony Orchestra (Royaume-Uni) - Three Screaming Popes (after the paintings by Francis Bacon), for Large Orchestra (de Mark-Anthony TURNAGE) 11. Philip Glass Ensemble (États-Unis) - « Prophecies », dernier mouvement du documentaire Koyaanisqatsi (de Philip GLASS) 12. Valery Gergiev avec la Mariinsky Orchestra (Russie) - Suite scythe, op. 20 « Ala et Lolly » : II. « Tchoujbog et la danse des esprits » (de Sergei PROKOFIEV) (en fond)

"Music gives the human spirit a place to expand…a place to grow." – Guido Lamell In this very special conversation, Dr. Bob has the pleasure of talking with professional violinist Guido Lamell. They discuss many topics including Guido's incredible musical career and how important music is for children. There is a very special treat at the end of the episode that you absolutely will not want to miss. Enjoy! Violinist GUIDO LAMELL joined the Los Angeles Philharmonic in 1979 under Carlo Maria Giulini, after having served for two years as associate concertmaster of the Louisville Orchestra and for one year as concertmaster of the Mexico City Philharmonic. Lamell has performed frequently on the Philharmonic's Chamber Music Society and Green Umbrella series, and has appeared widely as a recitalist and orchestral soloist. He particularly loves playing in small ensembles and has enjoyed playing chamber music in his home with some of the Philharmonic's guest soloists, including Gustavo Dudamel, Emanuel Ax, Lynn Harrell, Joshua Bell, Sir Simon Rattle, and others. In addition, Lamell has been very active as a conductor. Having conducted various local ensembles for many years, he traveled to Kiev in 2000 with celebrated American violin soloist Eugene Fodor to record six concertos with the National Symphony of Ukraine. These recordings received critical acclaim and ultimately proved to be Fodor's last recordings. In recent years, Lamell has been coaching orchestras and conductors throughout Los Angeles through the Philharmonic's Youth Orchestra Partnership Program. This continued on the Philharmonic's tour to Caracas, when he coached two of the El Sistema youth orchestras and gave a conducting masterclass (in Spanish) to a group of El Sistema conducting students. In 2011, he produced and conducted Beethoven's Ninth Symphony at Walt Disney Concert Hall as a benefit concert for Japan earthquake relief. This concert was honored with a reward of the American Prize. In 2012, Lamell was appointed Music Director of the Santa Monica Symphony and is active in his third season with them. He is excited about bringing Philharmonic-level ideals and enthusiasm to this orchestra in its 70th anniversary season. Visit smsymphony.org. How to contact Guido Lamell: https://www.laphil.com/musicdb/artists/2981/guido-lamell https://www.smsymphony.org/ Instagram: https://www.instagram.com/santamonicasymphony/ How to contact Dr. Bob: YouTube: https://www.youtube.com/channel/UChztMVtPCLJkiXvv7H5tpDQ Instagram: https://www.instagram.com/drroberthamilton/ Facebook: https://www.facebook.com/bob.hamilton.1656 Seven Secrets Of The Newborn website: https://7secretsofthenewborn.com/ Website: https://roberthamiltonmd.com/ Pacific Ocean Pediatrics: http://www.pacificoceanpediatrics.com/

durée : 00:11:51 - Disques de légende du mercredi 17 juin 2020 - Une rencontre au sommet ! Le pianiste Vladimir Horowitz, star absolue de 84 ans, enregistre en 1987 à Milan la sonate n° 13 et le Concerto pour piano n° 23 de Mozart, sous la direction du chef Carlo Maria Giulini.

durée : 01:58:13 - Relax ! du vendredi 12 juin 2020 - par : Lionel Esparza - Au programme, des nouveautés et notamment le dernier disque de l'altiste Tabea Zimmermann et du pianiste Javier Perianes. On évoque en deuxième partie d'émission le chef Carlo Maria Giulini, à l'occasion des 15 ans de sa disparition. Et notre légende du jour est l'incomparable Lotte Lehmann... - réalisé par : Antoine Courtin

durée : 00:57:41 - Le Beethoven distingué de Carlo Maria Giulini - par : Aurélie Moreau - Oeuvres de Beethoven, Mozart, Bruckner, Verdi et Brahms sous la direction de Carlo Maria Giulini. - réalisé par : Sophie Pichon

Welcome back to the Everyday Musician Podcast. We're glad you can join us again after a much needed week long break. Joining me today is Benita Benéitez and her student Mjalta from the Opportunity Music Project. Benita Benéitez was born in Spain, making her formative studies at the Superior Conservatory  of Music in Bilbao and The Guildhall School of Music and Drama in London. Benita has played as a soloist with several professional orchestras in Spain as Bilbao Symphony Orchestra and toured all Europe and America as Chamber musician (Germany, Hungary, Italy, U.K., Portugal Panamá,...) As an orchestral player she has performed with the Madrid Symphony Orchestra, Bilbao Symphony Orchestra, Real Filharmonia de Galicia, Asturias Symphony Orchestra, The Richmond Symphony, The Manhattan Symphonie and many others, performing under the baton of conductors such as Pierre Boulez, Carlo Maria Giulini,  Jesus Lopez Cobos, Andras Ligeti. Since 2008, Ms. Benéitez-Vega has lived in New York City where she has an active duo career  as performer and educator.

Today’s episode, a celebration of the delicious and versatile Italian mezzo-soprano Giulietta Simionato (1910-2010), kicks off a miniseries in celebration of the mezzo-soprano voice. The centerpiece of the episode is a 10-inch London/Decca recording entitled Operatic Recital by Giulietta Simionato which features arias of Rossini, Bellini, and Verdi. The remainder of the episode features live and studio recordings, primarily from La Scala and Salzburg, by Simionato with distinguished partners, including Maria Callas, Franco Corelli, Jon Vickers, Ettore Bastianini, Gianadrea Gavazzeni, Antonino Votto, Carlo Maria Giulini, and Herbert von Karajan. Works include Il barbiere di Siviglia, Cavalleria rusticana, I Capuleti e i Montecchi, Don Carlo, Adriana Lecouvreur, Orfeo ed Euridice, Norma, La Cenerentola, Gli Ugonotti, L’Italiana in Algeri, and Aida, with one special Easter egg at the end. This episode, dedicated to my dear friend Gloria Parker, also features a tribute to the late German mezzo-soprano Hertha Töpper. A te la buona Pasqua! Countermelody is a podcast devoted to the glories of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great classical and opera singers of the past and present with the help of guests from the classical music field: singers, conductors, composers, coaches, agents, and voice teachers. 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 interaction between singers of all stripes, their instruments, and the connection they make to the words they sing. Please visit the Countermelody website (www.countermelodypodcast.com) for additional content. And please head to our Patreon page at www.patreon.com/countermelody to pledge your support at whatever level you can afford.

Claudio Capitini"Incomparabili"Voci fuori dal coroTeatro, musica e un passo di danzaGabrielli Editoriwww.gabriellieditori.itIl volume Incomparabili. Voci fuori dal coro (Gabrielli Editori) chiude la “trilogia” dedicata dal giornalista Claudio Capitini, attraverso i suoi ritratti-interviste, alla storia di teatro, musica e danza, prodotti o ospitati a Verona, e che hanno visto la città scaligera quale ‘caput mundi' dello spettacolo italiano e internazionale dagli anni Ottanta a oggi. Un ordito progettato come un unico itinerario storico e culturale cominciato a tessere nei due precedenti volumi: Le voci del teatro (edito da Marsilio), con protagonisti i grandi della prosa, di scena al Teatro Romano di Verona, e E lucevan le stelle (edito da Gabrielli) dedicato al Festival areniano raccontato dai suoi protagonisti.Incomparabili si compone di oltre 80 interviste a interpreti unici di musica (lirica e sinfonica), teatro e danza per ognuno dei quali, come dice Luca Ronconi, il palcoscenico è l'unico territorio in cui poter respirare naturalmente, e dei quali Claudio Capitini ha avuto conoscenza e coscienza del valore, con ognuno intrecciando amicizie definitive: tutti legati da uno straordinario fil rouge e da una folgorante idea guida, il loro essere incomparabili e voci fuori dal coro.Qualche nome? Per il TEATRO: Roberto Benigni, Florinda Bolkan, Giulio Brogi, Walter Chiari, Peppino De Filippo, Giulia Lazzarini, Nino Manfredi, Marcello Mastroianni, Montesano, Moschin, Gigi Proietti, Massimo Ranieri, Rascel, Monica Vitti; per la MUSICA: Andrea Battistoni, Gianfranco Cecchele, Enzo Dara, Dante Ferretti, Carlo Maria Giulini, Mariella Devia, Carlo Lizzani, Zubin Metha, Milva, Morricone, Piovani, Scimone, Sokolov, Uto Ughi, Shirley Verret, Ivo Vinco; e per la DANZA: Alvin Ailey, Vittorio Biagi, Julio Bocca, Carolyn Carlson, Oriella Dorella, Dupond, Antonio Gades, Yuri Grigorovich, Marcel Marceau, Moses Pendleton dei Momix, Roland Petit, gli Stomp.Nell'avvicinare questi e altri “incomparabili”, e chiedendo loro di togliersi il bianco del trucco, l'autore ne tratteggia carattere e personalità, sul filo di una memoria affettuosa, di ogni interprete realizzando un ritratto inedito e a tuttotondo, spesso di eccezionale significato, contestualizzando gli spettacoli, intrigando il lettore con aneddoti, con contrappunti, curiosità e notizie mai prima divulgate. E così agevolando, sullo sfondo di un vasto panorama affrescato, una riflessione sul pensare e fare cultura in Italia e nel mondo, anche nell'intento di ricordare, soprattutto ai giovani, che una generazione che ignora la sua storia non ha futuro.Claudio Capitini è nato a Verona, dove vive e opera da giornalista. Laureato in Lettere e Filosofia presso l'Università di Padova con tesi in Storia del Teatro, nello stesso periodo ha frequentato il Piccolo Teatro di Milano.È critico teatrale e autore di programmi radio-televisivi. Consulente aziendale nell'area Comunicazione multimediale e Direct Marketing, è formatore ed esperto di public speaking. In questo ambito è autore di un saggio-manuale sull'efficacia della comunicazione tramite le tecniche del teatro titolato “Il ComunicatTore”.È stato Capo Ufficio Stampa presso l'Ente Lirico Arena di Verona. Con Marsilio ha pubblicato nel 2014 “Le voci del Teatro. Interviste ai grandi della scena”.IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.it

durée : 01:58:24 - Relax ! du mercredi 12 février 2020 - par : Lionel Esparza - Portrait d'un des pionniers du mouvement baroque, le contreténor et chef d'orchestre René Jacobs. On écoute aussi la soprano Lucia Popp dans "Eugène Onéguine" de Tchaïkovsky, et notre légende du disque est la première Symphonie de Mahler par l'Orchestre symphonique de Chicago & Carlo Maria Giulini. - réalisé par : Antoine Courtin

durée : 00:18:33 - Disques de légende du mercredi 12 février 2020 - Le chef d'orchestre italien Carlo Maria Giulini et l'Orchestre symphonique de Chicago enregistrent en 1971 cette très belle version de la Symphonie n° 1 de Gustav Mahler, pour le label EMI. La rencontre entre le chef et l'orchestre, quinze ans plus tôt, avait été un véritable coup de foudre...

durée : 00:18:44 - Disques de légende du mardi 03 septembre 2019 - Cette version du Don Giovanni de Mozart a été enregistrée dans les studios d'Abbey Road (Londres) par EMI en 1959, avec une distribution exceptionnelle : Elisabeth Schwarzkopf, Eberhard Wächter, Joan Sutherland, Giuseppe Taddei... Le Philharmonia Orchestra était dirigé par Carlo Maria Giulini.

Palm Beach Opera Vocal CompetitionRenata Scotto is an Italian soprano and opera director.Don Pasquale is an opera buffa, or comic opera, in three acts by Gaetano DonizettiValència is the capital of the autonomous community of Valencia and the third-largest city in Spain.Montserrat Caballé was a Spanish operatic soprano.Arturo Toscanini was an Italian conductor.Wolfgang Amadeus Mozart was a prolific and influential composer of the classical era.Robert Schumann a German composer, pianist, and influential music critic.The Spoleto Festival (Festival dei Due Mondi) is an annual summer music and opera festival held each June to early July in Spoleto, Italy, since its founding by composer Gian Carlo Menotti in 1958.Opera Idol was an annual opera competition for amateur singers run by Cincinnati Opera.Ainadamar is the first opera by Argentinian composer Osval do Golijov.Carmen is an opera by French composer Georges Bizet.The Marriage of Figaro is an opera buffa (comic opera) composed in 1786 by Mozart.Don Carlos is a grand opera composed by Giuseppe Verdi.Diego Velázquez was a Spanish painter, the leading artist in the court of King Philip IV, and one of the most important painters of the Spanish Golden Age.Manuel de Falla was a Spanish composer.Francisco Albéniz was a Spanish virtuoso pianist, composer, and conductor.Reynaldo Hahn was a Venezuelan, naturalized French, composer, conductor, music critic, diarist, theatre director, and salon singer.Enrique Granados was a Spanish pianist and composer of classical music.Franz Joseph Haydn was an Austrian composer of the Classical period.Tomás Luis de Victoria was the most famous composer in 16th-century Spain, and was one of the most important composers of the Counter-Reformation, along with Giovanni Pierluigi da Palestrina and Orlando di Lasso.Antonio de Cabezón was a Spanish Renaissance composer and organist.Martín y Soler was a Spanish composer of opera and ballet. Although relatively obscure now, in his own day he was compared favorably with his contemporary, Wolfgang Amadeus Mozart, as a composer of opera buffa.Luigi Boccherini was an Italian composer and cellist of the Classical era whose music retained a courtly and galante style even while he matured somewhat apart from the major European musical centers.Giuseppe Domenico Scarlatti was an Italian composer.Farinelli was the stage name of Carlo Maria Michelangelo Nicola Broschi, a celebrated Italian castrato singer of the 18th century and one of the greatest singers in the history of opera.The Vienna State Opera is an Austrian opera house and opera company based in Vienna, Austria.Otto Klemperer was a Jewish German-born conductor and composer, described as "the last of the few really great conductors of his generation."Bruno Walter was a German-born conductor, pianist and composer.Herbert von Karajan was an Austrian conductor. He was principal conductor of the Berlin Philharmonic for 35 years.The Spanish National Youth Orchestra is a Spanish youth orchestra.Teresa Berganza is a Spanish mezzo-soprano.Sir Georg Solti was a Hungarian-born orchestral and operatic conductor, best known for his appearances with opera companies in Munich, Frankfurt and London, and as a long-serving music director of the Chicago Symphony Orchestra.Luisa Miller is an opera by Giuseppe Verdi.Lorin Maazel was an American conductor, violinist, and composer.Zubin Mehta is an Indian conductor of Western and Eastern classical music. He is currently music director of the Israel Philharmonic Orchestra (IPO) and Conductor Emeritus of the Los Angeles Philharmonic.Carlo Maria Giulini was an Italian conductor.The Symphony No. 5 is Beethoven’s 5th symphony and is one of the best-known compositions in classical music and one of the most frequently played symphonies.The Goldberg Variations is a musical composition for harpsichord by Johann Sebastian Bach, consisting of an aria and a set of 30 variations.La Traviata is an opera composed by Giuseppe Verdi.Roméo et Juliette (Romeo and Juliet) is an opera by Charles Gounod.Giacomo Puccini was an Italian opera composer who has been called "the greatest composer of Italian opera after Verdi."(Ravenni & Girardi n.d., Introduction.)Richard Strauss was a leading German composer of the late Romantic and early modern eras.Johannes Brahms was a German composer, pianist, and conductor of the Romantic period.Nikolaus Harnoncourt was an Austrian conductor, particularly known for his historically informed performances of music from the Classical era and earlier.Pablo Casals was a cellist, composer, and conductor from Catalonia.La 1 (La Uno, The One), is the flagship television channel of Spanish public broadcaster Radio televisión Española (RTVE).La 2 (La Dos, The Two) is Spain's second state-owned television channel for the public broadcasting service.Senegal is a country in West Africa.José Plácido Domingo is a Spanish opera, conductor, and arts administrator.Otello is an opera by Verdi.Franco Ferrara was an Italian conductor.Guido Cantelli was an Italian orchestral conductor."Fritz" Reiner was a prominent conductor of opera and symphonic music in the twentieth century.Alicia de Larrocha was a Spanish pianist and composer. She was considered one of the great piano legends of the 20th century.The Tudors is a historical fiction television series set primarily in 16th-century EnglandMedici is an Italian-British historical dramaSpotify Technology S.A. is a Swedish media-services provider founded in 2006.

1979, with Renata Scotto, Lucia Valentini-Terrani, Veriano Luchetti and Martti Talvela.

durée : 00:27:55 - Carlo Maria Giulini, chef d'orchestre (5/5) - Cette semaine, Les Grands interprètes de la musique classique reviennent sur le parcours du chef d’orchestre Carlo Maria Giulini

durée : 00:28:17 - Carlo Maria Giulini, chef d'orchestre (4/5) - Cette semaine, Les Grands interprètes de la musique classique reviennent sur le parcours du chef d’orchestre Carlo Maria Giulini

durée : 00:27:56 - Carlo Maria Giulini, chef d'orchestre (3/5) - Cette semaine, Les Grands interprètes de la musique classique reviennent sur le parcours du chef d’orchestre Carlo Maria Giulini

durée : 00:27:40 - Carlo Maria Giulini, chef d'orchestre (2/5) - Cette semaine, Les Grands interprètes de la musique classique reviennent sur le parcours du chef d’orchestre Carlo Maria Giulini

durée : 00:26:51 - Carlo Maria Giulini, chef d'orchestre (1/5) - Cette semaine, Les Grands interprètes de la musique classique reviennent sur le parcours du chef d’orchestre Carlo Maria Guilini

Il 9 maggio 1914 a Barletta nasce Carlo Maria Giulini. Angelo Foletto lo racconta a WikiMusic

Hans Traviata är nog världens mest spelade opera. Den var på sin tid världens mest moderna opera, skapad av ett geni som helst såg sig som bonde. Lyssna på alla avsnitt i Sveriges Radio Play. Musiken som hörs i programmet: La Traviata preludium, Carlo Rizzi, London Symphony orchestra Addio del passato, ur La Traviata. Maria Callas, Carlo Maria Giulini, La Scala Una macchia è qui tuttora! ur Macbeth, Birgit Nilsson The Peels: Juanita Banana Tu che dal nulla hai tratto. ur Aida – Katja Ricardelli, Karajan Dies Irae, ur Requiem – Solti, Chicago Symphony orchestra

Hans Traviata är nog världens mest spelade opera. Den var på sin tid världens mest moderna opera, skapad av ett geni som helst såg sig som bonde. Musiken som hörs i programmet: La Traviata preludium, Carlo Rizzi, London Symphony orchestra Addio del passato, ur La Traviata. Maria Callas, Carlo Maria Giulini, La Scala Una macchia è qui tuttora! ur Macbeth, Birgit Nilsson The Peels: Juanita Banana Tu che dal nulla hai tratto. ur Aida Katja Ricardelli, Karajan Dies Irae, ur Requiem Solti, Chicago Symphony orchestra

With Lew Smoley, and Michael Bral

With Lew Smoley, and Michael Bral

Louise Glück uses simple, unsentimental language in her poems to evoke overwhelming emotions. That rare combination is what has distinguished her as one of America's greatest living poets, for over half a century. In this episode, the Pulitzer Prize-winning, former Poet Laureate of the United States digs into the torment and uncertainty that has hounded her throughout her writing life. She talks about how teaching poetry, which she feared would diminish her art, instead allowed it to flourish. And she describes her obsessive desire to hear music in her ears, and language in her head. *The excerpt of Don Giovanni is from a Warner Classics recording, conducted by Carlo Maria Giulini, with Eberhard Wachter and Joan Sutherland.

I programmet diskuteras Les Siècles o Roths tolkning av Ligeti, julmusik av Charpentier samt Currentzis version av Mozarts Don Juan, vilken också jämförs med Giulinis. Hanna väljer ur diger CD-box. I panelen Edward Klingspor, Kati Raitinen och Magnus Lindman som tillsammans med programledaren Johan Korssell betygsätter följande skivor:GYÖRGY LIGETI Six Bagatelles, Kammerkonzert, Dix Pièces pour Quintette à Vent Les Siècles Francois-Xavier Roth, dirigent Musicales Actes Sud ASM 26MARC-ANTOINE CHARPENTIER Pastorale de Noël, Grandes Antiennes O de lAvent Ensemble Correspondances Sébastien Daucé, dirigent Harmonia Mundi HMC 902247WOLFGANG AMADEUS MOZART Don Giovanni Dimitris Tiliakos, Karina Gauvin m.fl MusicAeterna Teodor Currentzis, dirigent Sony 88985316032Referensen Tillsammans med panelen refererar Johan till en smått historisk inspelning av Mozarts Don Giovanni där Carlo Maria Giulini dirigerar Philharmonia Orchestra, London och där Eberhard Wächter gör titelrollen, Joan Sutherland är Donna Anna och Elizabeth Schwarzkopf, Donna Elvira, m.fl. Inspelningen gjordes 1959 på EMI.Hannas val Hanna Höglund gör en upptäcktsresa världen över med hjälp av en box (14 CD) med österrikiska gruppen Reconsil-ensemblen ledd av Roland Freisitzer; Exploring the World, där musik från olika delar av världen möts. Inspelningarna är gjorda på Orlando Records.Andra i programmet nämnda eller rekommenderade inspelningar: Ligetis Kammerkonzert med BIT20 Ensemble och ledd av Baldur Brönnimann på Bis. Charpentiers Grandes Antiennes O de lAvent med Les Arts Florissants under ledning av William Christie på Harmonia Mundi. Mozarts Don Giovanni med solister samt Mahler Orchestra ledda av Yannick Nézet-Séguin på DG; solister och Freiburgs barockorkester under René Jacobs på Harmonia Mundi samt med solister och Philharmonia Orchestra, London, dirigerade av Carlo Maria Giulini på EMI. Svepet Johan sveper över ett album utgivet på Bis med musik av Ligeti framförd av BIT20 Ensemble och ledd av Baldur Brönnimann; ur CDn Distant Light med musik av Barber, Hillborg och Björk framförd av sopranen Renée Fleming och Kungliga filharmonikerna i Stockholm ledda av Sakari Oramo på Decca samt över en utgivning med Les Dissonances ledd av David Grimal som innehåller Sjostakovitjs första Cellokonsert samt Symfoni nr 5, utgiven på egna märket Dissonances. 

We are featuring Bruce Bransby on today’s show. Bruce has been professor of double bass at Indiana University for three decades and has taught bass players who now hold positions in major orchestras worldwide. Bruce has also been a faculty member at the Aspen Music Festival for this same length of time. Prior to that, he served as principal bass of the Los Angeles Philharmonic and the Kansas City Symphony. Bruce is also an outstanding soloist, composer, and arranger, and you’ll be hearing an excerpt from his arrangement of the Valentini Cello Sonata at the beginning of the episode, and we’ll conclude today with Bruce’s own Valse for double bass and piano, which he composed under the pseudonym Rolande E. Curb (Curb is Bruce spelled backwards). We feature more music from Bruce in the bonus content for this episode, and you can access that material from the Contrabass Conversations app. Just click on this episode and choose ‘bonus.’These compositions and arrangements can be purchased from Lemur Music (Theme, Prelude, and Valentini links) or the String Emporium website.  Enjoy, and check out this link to learn more about the Performer Diploma in Orchestral Studies offered by the Jacobs School--most graduate double bass students are choosing this option at IU. About Bruce: Bruce Bransby was principal double bass with the Los Angeles Philharmonic (1978-1986) under Zubin Mehta, Carlo Maria Giulini, and Andre Previn, and was principal double bass with the Kansas City Symphony (1971-1978). He studied with Nat Gangursky, Peter Mercurio, and Stuart Sankey. Professor Bransby performs widely as soloist and chamber player and has premiered numerous works, including several concertos for the double bass. While in Los Angeles, he was active in studio recordings for motion pictures and television. He was a faculty member at California State University Northridge, the University of Missouri at Kansas City, the California Music Center, and the Los Angeles Philharmonic Institute, and has been a performing member of the faculty of the Aspen Music Festival since 1987. His students hold positions in many of the world's finest symphony orchestras.

Romanza sin palabras (arpa): Mª Rosa Calvo-ManzanoRéquiem:  Kathleen Battle (soprano), Andreas Schmidt (barítono), Timothy Farrell  (órgano), Philharmonia Chorus & Orchestra, Carlo Maria Giulini (director) Una composición hermosa como pocas, que entronca directamente con lo mejor de un género, el Réquiem, que ha dado obras maestras como esta. Fauré asombra y llega a los más profundo por todo lo que tiene de sencillez, de inspiración, de canto y melodías convertidos en esperanza, oración eterna para los vivos que lloran a sus seres queridos.   Escuchar audio

 In honor of and in loving memory of dear Regina Resnik, whose would have turned 91 on August 30, I present a fine Falstaff from Covent Garden 1961, under Carlo Maria Giulini. Dame Quickly was one of the famous Resnik "signature roles," and she is joined by Geraint Evans,Mirella Freni, Luigi Alva, John Shaw, and Josephine Veasey.    (71 min.)

From La Scala, 1953, under Carlo Maria Giulini, we hear Catalani's "La Wally" with Renata Tebaldi in the title role, Mario del Monaco as Hagenbach, Renata Scotto as Walter, Giangiacomo Guelfi as Gellner, and Giorgio Tozzi as Stromminger.  (73 min.) The story is set in the Austrian Tyrol where the free-spirited but vulnerable Wally is in love with the handsome Giuseppe Hagenbach, the son of her father's implacable enemy. This leads to the inevitable disastrous conclusion. Act 1 The village of Hochstoff A shooting contest is being held in celebration of the 70th birthday of Wally's father, Stromminger. A hunting party arrives from the nearby village of Sölden led by Hagenbach. Old enmities quickly surface and a quarrel develops between Stromminger and Hagenbach, who trade threats and insults before Hagenbach is drawn away by his companions. Vincenzo Gellner has his own heart set on Wally and is quick to notice that during the quarrel she is clearly infatuated with her father's enemy. When left alone with Stromminger, he tells the old man of his suspicions. Recognising that Gellner is in love with his daughter, he insists that Wally agrees to marry him within a month or else leave his house forever. Wally retorts that she would rather take her chances in the Alpine snows than marry Gellner. Act 2 The Eagle Tavern at Sölden A year has passed; Stromminger has died and Wally has inherited his fortune. However, Hagenbach has become engaged to Afra, the landlady of the Eagle Tavern, and is apparently not interested in Wally. A festival is taking place in Sölden and Wally is drawn to the tavern knowing that Hagenbach will be there. Hagenbach is persuaded to accept a challenge to try to win a kiss from Wally. What begins as a game quickly develops into something more serious, and Hagenbach easily wins his wager. When Wally realises she has been the victim of a cynical bet, her jealousy and fury boil over. She turns to Gellner, who is also at the festival, and insists that if he loves her he must kill Hagenbach. Act 3 A ravine La Wally returns to her home. The anger she felt has now subsided and she wishes she could take back her words. At that moment there is a knock at her door. It is Gellner, who describes how under cover of darkness he was able to set upon Hagenbach and hurl him into a deep ravine. Wally is horrified and hurries to the ravine in the hope of saving Hagenbach, even though she believes he loves Afra. She herself goes down a rope to rescue him and successfully raises his unconscious body back to the surface. Act 4 High in the Alps Lonely and depressed, Wally has climbed into the mountains above the village. Her only friend, Walter, has followed and urges her to come down for the Christmas festivities and reminds her of the dangers of avalanches. She sends him away and contemplates her imminent death. Wally hears another voice. It is Hagenbach, who has recovered from his injuries and come to confess his love. The lovers are reconciled and Hagenbach goes to find a safe path back down the mountain. He shouts up to Wally, but the noise of his call sets off an avalanche which carries him away. Wally stands for a moment on the edge of the precipice before hurling herself down to her death.

In 1955, Cappuccilli auditioned for La Scala in Milan, where the auditioners, deeply impressed, encourage him to enter the Viotti competition. After his first place award, he made his official operatic debut in 1957 at the Teatro Nuovo in Milan, singing Tonio in Pagliacci. In 1960, he made his debut at the Metropolitan Opera, singing Giorgio Germont in La traviata, which was to be Cappuccilli spent most of his career singing in Europe, with only infrequent travels to North and South America. He made his debut at the Teatro alla Scala in 1964, as Enrico, at the Royal Opera House in London as Germont in 1967, and his Opéra de Paris debut took place in 1978, as Amonasro. He also appeared at the Vienna State Opera and the Salzburg Festival. He worked with the greatest European conductors of his time (Karajan, Gavazzeni, Abbado, Kleiber) and became one of the finest interpreters of the Italian repertoire. Cappuccilli was highly respected as a "Verdi baritone", where his beautiful voice, fine vocal technique, musical elegance, and dignified stage presence, were shown to their best advantage. He left an impressive discography, he recorded Lucia di Lammermoor twice, first with Maria Callas in 1959, and with Beverly Sills in 1970. Other notable recordings include; Rigoletto, opposite Ileana Cotrubas and Placido Domingo, under Carlo Maria Giulini, Macbeth, opposite Shirley Verrett, and Simon Boccanegra, opposite Mirella Freni and Nicolai Ghiaurov, both under Claudio Abbado. He also recorded Don Carlos, Il Trovatore and Aida under Herbert von Karajan Cappuccilli sang until his mid-sixties; an automobile accident in 1992 ended his stage career. He died in his native Trieste, at the age of 78.[2]  Pagliacci,Zaza,Macbeth,Attila,Due Foscari,Forza,Trovatore,Do Carlo,Pearl Fishers, Chenier, Nabucco,Ernani,Roberto Devereux. (68 min.)

Anita Cerquetti had to retire very soon. She had a magnificent voice,as you will hear, in arias from Ernani, Agnese di Hofenstaufen (Spontini), Oberon, Vespri Siciliani, Forza del Destinmo.William Tell, Aida,and Ernani. (63 min.) Anita Cerquetti (April 13, 1931) is an Italian dramatic soprano who had a short career in the 1950s. Cerquetti was born in Montecosaro, near Macerata, Italy. She was originally a student of the violin and trained eight years with Luigi Mori. After a mere one year of vocal study at the Conservatory of Perugia she made her operatic debut in Spoleto in 1951 as Aida. She sang all over Italy, notably in Florence as Noraime in Les Abencérages, under Carlo Maria Giulini in 1956, and as Elvira in Ernani, under Dimitri Mitropoulos in 1957. Her Teatro alla Scala debut was in 1958 as Abigail in Nabucco. She also sang on RAI in a wide variety of roles such as Elcia in Mosè in Egitto, Mathilde in Guglielmo Tell, Elena in I vespri siciliani, etc. Cerquetti made headlines in January 1958, when she replaced "in extremis" the ailing Maria Callas in Norma, at the Rome Opera House. She was already singing the role at the San Carlo in Naples. She commuted between the two cities to honor both engagements for several weeks. This "tour de force" won her great acclaim but had serious effects on her health. Shortly after she started withdrawing little by little from the stage until her complete retirement in 1961, aged only 30. Cerquetti sang relatively little in America. Her debut there was at the Lyric Opera of Chicago in 1955, as Amelia in Un ballo in maschera, opposite Jussi Björling, with Tullio Serafin conducting. Cerquetti made only two commercial recordings, both for Decca in 1957, a recital of Italian opera arias and a complete La Gioconda with Mario del Monaco, Ettore Bastianini, Giulietta Simionato, Cesare Siepi. Among her "pirated" recordings is a 1958 Aida, from Mexico City, with Flaviano Labò, Nell Rankin, Cornell MacNeil, Fernando Corena and Norman Treigle. The Rome Norma of 1958 with Franco Corelli is also available. In 1996 she sang and talked in Jan Schmidt-Garre's film Opera Fanatic. A recording of Don Carlo from Florence 1956 featuring Cerquetti as Elizabetta is available from Melodram.

We’re concluding our interview with double bassist Barry Lieberman. The former Assistant Principal Bass of the Los Angeles Philharmonic and Principal Bass of the Winnipeg Symphony, Barry now serves as co-director of The American String Project, an innovative string ensemble which features arrangements of string quartets for small string ensemble with double bass. On today’s episode, Barry (pictured here with his John Lott double bass) discusses the arranging process that he goes through for the American String Project, his recording of the Vivaldi Cello Sonatas, and his beautiful Maggini bass. About Barry: Barry Lieberman is now in his sixteenth year as double bass faculty at the University of Washington. He began his career at age 21 as principal bass of the Winnipeg Symphony. In 1976 Zubin Mehta appointed him associate principal bass of the Los Angeles Philharmonic, a post he held for sixteen years. Lieberman has been a regular performer with Chamber Music Northwest, Music From Angel Fire, the International Festival in Seattle, Bravo Colorado, Bargemusic, the Seattle Chamber Music Festival, and Mostly Mozart, and served as Principal Bass of the Colorado Music Festival in Boulder, Colorado. Most recently Lieberman performed with the Orpheus Chamber Orchestra, both in New York City and on tour in Europe. He has also performed with and toured the Far East, Europe, and the U.S. with the Mostly Mozart chamber orchestra.   Lieberman has performed with many of the world’s greatest conductors, including Pierre Boulez and Sir Simon Rattle (in both orchestral and chamber music settings), Erich Leinsdorf, Leonard Bernstein, Daniel Barenboim, Georg Solti, Eugene Ormandy, Claudio Abbado, Carlo Maria Giulini, and Kurt Sanderling, among many others. He has performed chamber music with artists including Emmanuel Ax, James Galway, Lynn Harrell, Pinchas Zuckerman, Glenn Dicterow, and David Shifrin. A former member of the New European Strings for several years, he has toured both the US and Europe with the ensemble’s leader, Dimirtri Sitkovetsky. Lieberman has also served as Principal Bass of the Seattle Symphony on many occasions. In l994, Lieberman created the series “Barry Lieberman and Friends” at the University of Washington. The series combines the talents of School of Music faculty, members of the Seattle Symphony (including his wife, Maria Larionoff, Concertmaster of the Seattle Symphony), guest artists, and most importantly, students from both the UW and from preparatory schools and high schools. The series has met with great success and critical acclaim, and has incorporated Lieberman`s project of arranging standard chamber music literature to include the double bass. Featured artists on this series include Gary Karr, Thomas Martin (Principal Bass, London Symphony), Hal Robinson (Principal Bass, Philadelphia Orchestra,), Joel Quarrington (Principal Bass, Toronto Symphony,) and many other prominent double bassists from around the world. The series continues and has become one of the most popular concert series in Seattle.

We’re concluding our interview with double bassist Barry Lieberman. The former Assistant Principal Bass of the Los Angeles Philharmonic and Principal Bass of the Winnipeg Symphony, Barry now serves as co-director of The American String Project, an innovative string ensemble which features arrangements of string quartets for small string ensemble with double bass. On today’s episode, Barry (pictured here with his John Lott double bass) discusses the arranging process that he goes through for the American String Project, his recording of the Vivaldi Cello Sonatas, and his beautiful Maggini bass. About Barry: Barry Lieberman is now in his sixteenth year as double bass faculty at the University of Washington. He began his career at age 21 as principal bass of the Winnipeg Symphony. In 1976 Zubin Mehta appointed him associate principal bass of the Los Angeles Philharmonic, a post he held for sixteen years. Lieberman has been a regular performer with Chamber Music Northwest, Music From Angel Fire, the International Festival in Seattle, Bravo Colorado, Bargemusic, the Seattle Chamber Music Festival, and Mostly Mozart, and served as Principal Bass of the Colorado Music Festival in Boulder, Colorado. Most recently Lieberman performed with the Orpheus Chamber Orchestra, both in New York City and on tour in Europe. He has also performed with and toured the Far East, Europe, and the U.S. with the Mostly Mozart chamber orchestra.  Lieberman has performed with many of the world’s greatest conductors, including Pierre Boulez and Sir Simon Rattle (in both orchestral and chamber music settings), Erich Leinsdorf, Leonard Bernstein, Daniel Barenboim, Georg Solti, Eugene Ormandy, Claudio Abbado, Carlo Maria Giulini, and Kurt Sanderling, among many others. He has performed chamber music with artists including Emmanuel Ax, James Galway, Lynn Harrell, Pinchas Zuckerman, Glenn Dicterow, and David Shifrin. A former member of the New European Strings for several years, he has toured both the US and Europe with the ensemble’s leader, Dimirtri Sitkovetsky. Lieberman has also served as Principal Bass of the Seattle Symphony on many occasions. In l994, Lieberman created the series “Barry Lieberman and Friends” at the University of Washington. The series combines the talents of School of Music faculty, members of the Seattle Symphony (including his wife, Maria Larionoff, Concertmaster of the Seattle Symphony), guest artists, and most importantly, students from both the UW and from preparatory schools and high schools. The series has met with great success and critical acclaim, and has incorporated Lieberman`s project of arranging standard chamber music literature to include the double bass. Featured artists on this series include Gary Karr, Thomas Martin (Principal Bass, London Symphony), Hal Robinson (Principal Bass, Philadelphia Orchestra,), Joel Quarrington (Principal Bass, Toronto Symphony,) and many other prominent double bassists from around the world. The series continues and has become one of the most popular concert series in Seattle.

Roy Plomley's castaway is conductor Carlo Maria Giulini. Favourite track: String Quartet No 15 in A Minor (Opus 132) by Ludwig van Beethoven Book: The Mirror of Perfection - The Praise of Created Things by St Francis of Assisi