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4 episodes with Castrato
2 episodes with Castrato
3 episodes with Castrato
2 episodes with Castrato
4 episodes with Castrato
2 episodes with Castrato
Einer der letzten Kastraten auf den Opernbühnen des 19. Jahrhunderts war der Italiener Giovanni Battista Velluti. Ihm hat jetzt der argentinische Countertenor Franco Fagioli ein Album gewidmet: „The last Castrato“. SWR-Kritiker Manuel Brug meint: „Mit 43 Jahren ist bei Fagioli allerdings schon ein wenig der Countertenor-Lack ab.“
El contratenor Franco Fagioli nos habla acerca de su nuevo álbum en donde interpreta un programa compuesto por arias que fueros escritas para el último de los castrados del siglo XIX Giovanni Battista Velluti.
Javier Gastón nos presenta a Farinelli, el Castrato más famoso del siglo XVIII, con el que nos adentramos, además, en la historia cortesana: la de los primeros Borbones que reinaron en España a comienzos de ese siglo.
DescriptionFarinelli: The Legendary Castrato and His Timeless Legacy in 60 Seconds. Take a minute to get the scoop!Fun FactA famous aria sung by Farinelli is "Alto Giove" from the opera *Polifemo* by Nicola Porpora. This aria, renowned for its beauty and serenity, allowed Farinelli to display his incredible vocal agility and emotional depth. His performance captivated audiences, leaving an enduring legacy in the Baroque opera world.__________________________________________________________________About Steven, HostSteven is a Canadian composer & actor living in Toronto. Through his music, he creates a range of works, with an emphasis on the short-form genre—his muse being to offer the listener both the darker and more satiric shades of human existence. If you're interested, please check out his music website for more. Member of the Canadian League Of Composers.__________________________________________________________________You can FOLLOW ME on Instagram.
DescriptionEchoes of Eternity: The Rise and Fall of the Castrato in 60 Seconds. Take a minute to get the scoop!Fun FactOne of the most famous castrato songs is Son qual nave ch'agitata, performed by Farinelli in the opera *Artaserse* by composer Leonardo Vinci. This aria, known for its demanding vocal range and emotional depth, showcased Farinelli's exceptional voice, making him a sensation across Europe.__________________________________________________________________About Steven, HostSteven is a Canadian composer & actor living in Toronto. Through his music, he creates a range of works, with an emphasis on the short-form genre—his muse being to offer the listener both the darker and more satiric shades of human existence. If you're interested, please check out his music website for more. Member of the Canadian League Of Composers.__________________________________________________________________You can FOLLOW ME on Instagram.
Ci sono una serie di aggiornamenti frizzanti ad argomenti che avevamo trattato al podcastissimo, partiamo da Chat Control che è stato per ora rimandato a data da destinarsi, poi vediamo che iOS 18 in Europa arriva senza Mirroring e senza Apple Intelligence, e poi che Meta non potrà usare i post dei cittadini EU per trainare i propri LLM. Links: Inside the tiny chip that powers Montreal subway tickets - https://www.righto.com/2024/06/montreal-mifare-ultralight-nfc.html Everything I Know About The Fast Inverse Square Root Algorithm - https://github.com/francisrstokes/githublog/blob/main/2024/5/29/fast-inverse-sqrt.md 00:00 Intro 03:03 Chat Control 06:17 iOS 18 10:09 Meta AI 12:58 Links #chatcontrol #eu #ios18 #meta #ai === Podcast Spotify - https://open.spotify.com/show/4B2I1RTHTS5YkbCYfLCveU Apple Podcasts - https://podcasts.apple.com/us/podcast/buongiorno-da-edo/id1641061765 Amazon Music - https://music.amazon.it/podcasts/5f724c1e-f318-4c40-9c1b-34abfe2c9911/buongiorno-da-edo = RSS - https://anchor.fm/s/b1bf48a0/podcast/rss --- Send in a voice message: https://podcasters.spotify.com/pod/show/edodusi/message
Ferdinand Schevill Distinguished Service Professor in the Department of Music and the College, Professor Martha Feldman, joins us in this episode. Professor Feldman talks about her career journey from training as a professional guitarist to becoming a scholar researching Italian Opera and teaching Long and Song to UChicago students. She emphasizes the importance of believing in yourself and finding confidence to pursue one's passion and shares her upcoming plans in the field of music.
Italian courts and churches began employing castrato singers in the late sixteenth century. By the eighteenth century, the singers occupied a celebrity status on the operatic stage. Constructed through surgical alteration and further modified by rigorous training, castrati inhabited human bodies that had been “mechanized” to produce sounds in ways that unmechanized bodies could not. The voices of these technologically enhanced singers, with their unique timbre, range, and strength, contributed to a dramatic expansion of musical vocabulary and prompted new ways of imagining sound, the body, and personhood. Connecting sometimes bizarre snippets of history, this multi-disciplinary book moves backward and forward in time, deliberately troubling the meaning of concepts like “technology” and “human.” Voice Machines: The Castrato, the Cat Piano, and Other Strange Sounds (U Chicago Press, 2023) attends to the ways that early modern encounters and inventions—including settler colonialism, emergent racialized worldviews, the printing press, gunpowder, and the telescope—participated in making castrati. In Bonnie Gordon's revealing study, castrati serve as a critical provocation to ask questions about the voice, the limits of the body, and the stories historians tell. Nathan Smith is a PhD candidate in Music Theory at Yale University. Email: nathan.smith@yale.edu Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network
Italian courts and churches began employing castrato singers in the late sixteenth century. By the eighteenth century, the singers occupied a celebrity status on the operatic stage. Constructed through surgical alteration and further modified by rigorous training, castrati inhabited human bodies that had been “mechanized” to produce sounds in ways that unmechanized bodies could not. The voices of these technologically enhanced singers, with their unique timbre, range, and strength, contributed to a dramatic expansion of musical vocabulary and prompted new ways of imagining sound, the body, and personhood. Connecting sometimes bizarre snippets of history, this multi-disciplinary book moves backward and forward in time, deliberately troubling the meaning of concepts like “technology” and “human.” Voice Machines: The Castrato, the Cat Piano, and Other Strange Sounds (U Chicago Press, 2023) attends to the ways that early modern encounters and inventions—including settler colonialism, emergent racialized worldviews, the printing press, gunpowder, and the telescope—participated in making castrati. In Bonnie Gordon's revealing study, castrati serve as a critical provocation to ask questions about the voice, the limits of the body, and the stories historians tell. Nathan Smith is a PhD candidate in Music Theory at Yale University. Email: nathan.smith@yale.edu Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/gender-studies
Italian courts and churches began employing castrato singers in the late sixteenth century. By the eighteenth century, the singers occupied a celebrity status on the operatic stage. Constructed through surgical alteration and further modified by rigorous training, castrati inhabited human bodies that had been “mechanized” to produce sounds in ways that unmechanized bodies could not. The voices of these technologically enhanced singers, with their unique timbre, range, and strength, contributed to a dramatic expansion of musical vocabulary and prompted new ways of imagining sound, the body, and personhood. Connecting sometimes bizarre snippets of history, this multi-disciplinary book moves backward and forward in time, deliberately troubling the meaning of concepts like “technology” and “human.” Voice Machines: The Castrato, the Cat Piano, and Other Strange Sounds (U Chicago Press, 2023) attends to the ways that early modern encounters and inventions—including settler colonialism, emergent racialized worldviews, the printing press, gunpowder, and the telescope—participated in making castrati. In Bonnie Gordon's revealing study, castrati serve as a critical provocation to ask questions about the voice, the limits of the body, and the stories historians tell. Nathan Smith is a PhD candidate in Music Theory at Yale University. Email: nathan.smith@yale.edu Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts
Italian courts and churches began employing castrato singers in the late sixteenth century. By the eighteenth century, the singers occupied a celebrity status on the operatic stage. Constructed through surgical alteration and further modified by rigorous training, castrati inhabited human bodies that had been “mechanized” to produce sounds in ways that unmechanized bodies could not. The voices of these technologically enhanced singers, with their unique timbre, range, and strength, contributed to a dramatic expansion of musical vocabulary and prompted new ways of imagining sound, the body, and personhood. Connecting sometimes bizarre snippets of history, this multi-disciplinary book moves backward and forward in time, deliberately troubling the meaning of concepts like “technology” and “human.” Voice Machines: The Castrato, the Cat Piano, and Other Strange Sounds (U Chicago Press, 2023) attends to the ways that early modern encounters and inventions—including settler colonialism, emergent racialized worldviews, the printing press, gunpowder, and the telescope—participated in making castrati. In Bonnie Gordon's revealing study, castrati serve as a critical provocation to ask questions about the voice, the limits of the body, and the stories historians tell. Nathan Smith is a PhD candidate in Music Theory at Yale University. Email: nathan.smith@yale.edu Learn more about your ad choices. Visit megaphone.fm/adchoices
Italian courts and churches began employing castrato singers in the late sixteenth century. By the eighteenth century, the singers occupied a celebrity status on the operatic stage. Constructed through surgical alteration and further modified by rigorous training, castrati inhabited human bodies that had been “mechanized” to produce sounds in ways that unmechanized bodies could not. The voices of these technologically enhanced singers, with their unique timbre, range, and strength, contributed to a dramatic expansion of musical vocabulary and prompted new ways of imagining sound, the body, and personhood. Connecting sometimes bizarre snippets of history, this multi-disciplinary book moves backward and forward in time, deliberately troubling the meaning of concepts like “technology” and “human.” Voice Machines: The Castrato, the Cat Piano, and Other Strange Sounds (U Chicago Press, 2023) attends to the ways that early modern encounters and inventions—including settler colonialism, emergent racialized worldviews, the printing press, gunpowder, and the telescope—participated in making castrati. In Bonnie Gordon's revealing study, castrati serve as a critical provocation to ask questions about the voice, the limits of the body, and the stories historians tell. Nathan Smith is a PhD candidate in Music Theory at Yale University. Email: nathan.smith@yale.edu Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music
Italian courts and churches began employing castrato singers in the late sixteenth century. By the eighteenth century, the singers occupied a celebrity status on the operatic stage. Constructed through surgical alteration and further modified by rigorous training, castrati inhabited human bodies that had been “mechanized” to produce sounds in ways that unmechanized bodies could not. The voices of these technologically enhanced singers, with their unique timbre, range, and strength, contributed to a dramatic expansion of musical vocabulary and prompted new ways of imagining sound, the body, and personhood. Connecting sometimes bizarre snippets of history, this multi-disciplinary book moves backward and forward in time, deliberately troubling the meaning of concepts like “technology” and “human.” Voice Machines: The Castrato, the Cat Piano, and Other Strange Sounds (U Chicago Press, 2023) attends to the ways that early modern encounters and inventions—including settler colonialism, emergent racialized worldviews, the printing press, gunpowder, and the telescope—participated in making castrati. In Bonnie Gordon's revealing study, castrati serve as a critical provocation to ask questions about the voice, the limits of the body, and the stories historians tell. Nathan Smith is a PhD candidate in Music Theory at Yale University. Email: nathan.smith@yale.edu Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/european-studies
Italian courts and churches began employing castrato singers in the late sixteenth century. By the eighteenth century, the singers occupied a celebrity status on the operatic stage. Constructed through surgical alteration and further modified by rigorous training, castrati inhabited human bodies that had been “mechanized” to produce sounds in ways that unmechanized bodies could not. The voices of these technologically enhanced singers, with their unique timbre, range, and strength, contributed to a dramatic expansion of musical vocabulary and prompted new ways of imagining sound, the body, and personhood. Connecting sometimes bizarre snippets of history, this multi-disciplinary book moves backward and forward in time, deliberately troubling the meaning of concepts like “technology” and “human.” Voice Machines: The Castrato, the Cat Piano, and Other Strange Sounds (U Chicago Press, 2023) attends to the ways that early modern encounters and inventions—including settler colonialism, emergent racialized worldviews, the printing press, gunpowder, and the telescope—participated in making castrati. In Bonnie Gordon's revealing study, castrati serve as a critical provocation to ask questions about the voice, the limits of the body, and the stories historians tell. Nathan Smith is a PhD candidate in Music Theory at Yale University. Email: nathan.smith@yale.edu Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/italian-studies
Italian courts and churches began employing castrato singers in the late sixteenth century. By the eighteenth century, the singers occupied a celebrity status on the operatic stage. Constructed through surgical alteration and further modified by rigorous training, castrati inhabited human bodies that had been “mechanized” to produce sounds in ways that unmechanized bodies could not. The voices of these technologically enhanced singers, with their unique timbre, range, and strength, contributed to a dramatic expansion of musical vocabulary and prompted new ways of imagining sound, the body, and personhood. Connecting sometimes bizarre snippets of history, this multi-disciplinary book moves backward and forward in time, deliberately troubling the meaning of concepts like “technology” and “human.” Voice Machines: The Castrato, the Cat Piano, and Other Strange Sounds (U Chicago Press, 2023) attends to the ways that early modern encounters and inventions—including settler colonialism, emergent racialized worldviews, the printing press, gunpowder, and the telescope—participated in making castrati. In Bonnie Gordon's revealing study, castrati serve as a critical provocation to ask questions about the voice, the limits of the body, and the stories historians tell. Nathan Smith is a PhD candidate in Music Theory at Yale University. Email: nathan.smith@yale.edu Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/science-technology-and-society
Italian courts and churches began employing castrato singers in the late sixteenth century. By the eighteenth century, the singers occupied a celebrity status on the operatic stage. Constructed through surgical alteration and further modified by rigorous training, castrati inhabited human bodies that had been “mechanized” to produce sounds in ways that unmechanized bodies could not. The voices of these technologically enhanced singers, with their unique timbre, range, and strength, contributed to a dramatic expansion of musical vocabulary and prompted new ways of imagining sound, the body, and personhood. Connecting sometimes bizarre snippets of history, this multi-disciplinary book moves backward and forward in time, deliberately troubling the meaning of concepts like “technology” and “human.” Voice Machines: The Castrato, the Cat Piano, and Other Strange Sounds (U Chicago Press, 2023) attends to the ways that early modern encounters and inventions—including settler colonialism, emergent racialized worldviews, the printing press, gunpowder, and the telescope—participated in making castrati. In Bonnie Gordon's revealing study, castrati serve as a critical provocation to ask questions about the voice, the limits of the body, and the stories historians tell. Nathan Smith is a PhD candidate in Music Theory at Yale University. Email: nathan.smith@yale.edu Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/sound-studies
Italian courts and churches began employing castrato singers in the late sixteenth century. By the eighteenth century, the singers occupied a celebrity status on the operatic stage. Constructed through surgical alteration and further modified by rigorous training, castrati inhabited human bodies that had been “mechanized” to produce sounds in ways that unmechanized bodies could not. The voices of these technologically enhanced singers, with their unique timbre, range, and strength, contributed to a dramatic expansion of musical vocabulary and prompted new ways of imagining sound, the body, and personhood. Connecting sometimes bizarre snippets of history, this multi-disciplinary book moves backward and forward in time, deliberately troubling the meaning of concepts like “technology” and “human.” Voice Machines: The Castrato, the Cat Piano, and Other Strange Sounds (U Chicago Press, 2023) attends to the ways that early modern encounters and inventions—including settler colonialism, emergent racialized worldviews, the printing press, gunpowder, and the telescope—participated in making castrati. In Bonnie Gordon's revealing study, castrati serve as a critical provocation to ask questions about the voice, the limits of the body, and the stories historians tell. Nathan Smith is a PhD candidate in Music Theory at Yale University. Email: nathan.smith@yale.edu Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/technology
Peggy has just convinced herself that she needs to find someone to love her as she is, when her former lover calls her back to London to ask a favor. Peggy is tasked with setting up her former lover with the new sensation in town, Orfeo. However, from the moment the two meet, the attraction is instantaneous. However, Orfeo has told Peggy that they only have room to love music. Despite knowing that their relationship has an end date, Peggy is determined to enjoy Orfeo for as long as possible. Yet as the two grow closer, they never could have imagined good-bye could be so hard. Join us as we read Something Spectacular by Alexis Hall!Pick up a copy of today's book, Something Spectacular by Alexis Hall! You can listen to the only recording of the last living Castrato (mentioned in the history fact) here!Join us on Patreon at patreon.com/tnstrumpets!Subscribe to our email list to learn what we're reading next month, for fun extras, and more!Follow us on Instagram @tnstrumpetsFollow us on Twitter @tnstrumpetsFind us on Facebook facebook.com/tnstrumpetsAnd subscribe to us on YouTube!And join us next time as we read The Queer Principles of Kit Webb, by Cat Sebastian!
Se volete sostenerci ecco il nostro Patreon: https://www.patreon.com/labibliotecadialessandriaOppure direttamente qui su Youtube abbonandovi: https://www.youtube.com/channel/UC-Idufifk1hamoBzkZngr1w/joinCanale Youtube: https://www.youtube.com/channel/UC-Idufifk1hamoBzkZngr1wProduzione, Editing e Sound Design - UncleMatt: https://www.instagram.com/unclemattprod/Volete far parte della community e discutere con tanti appassionati come voi? Venite sul nostro gruppo Facebook : https://www.facebook.com/groups/624562554783646/Se volete chiaccherare o giocare con noi, unitevi al server Discord: https://discord.gg/muGgVsXMBWIl nostro Instagram: https://www.instagram.com/bibliotecadialessandria/?hl=itGruppo Telegram : https://t.me/joinchat/Flt9O0AWYfCUVsqrTAzVcg
Opera. The voices of angels. But before women were allowed to sing, Spanish and Italian Opera houses needed soprano singers. What were they to do? They came up with a solution that highlights the selfish, no-holds-barred, uncaring, lack-of-humanty race humans were and can still be. Follow Alesha as she takes us on one of our more crazy and absolutely Bizzare AF stories about the life of a Castrato. --- Send in a voice message: https://podcasters.spotify.com/pod/show/thebizarreaf/message Support this podcast: https://podcasters.spotify.com/pod/show/thebizarreaf/support
En nombre de las bellas artes se han realizado algunos actos incomprensibles, pero ninguno como lo ocurrido en la época medieval, cuando a través de la castración, impedian el crecimiento natural de los varones, consiguiendo con esto, voces angelicales, los #Castrati o #Castrato fueron una especie de híbridos musicales.
Hello! And now for the second part of the Crippling Alcoholism podcast! Do we talk about the band? Do we talk about music at all? Listen and find out! (Dramatic sounds.) Thanks for listening!
Growing up is hard to do. The Castlevania series is at a crossroads and is making the difficult jump to the 3d generation of gaming with great success and awkward failures. In part 2 of our Castlevania Series, we discuss Castlevania Bloodlines, Symphony of the Night, Legends, Castlevania 64, Legacy of Darkness, Circle of the Moon, and Harmony of Dissonance. The dream team converges with Igarashi, Yamane, and Kojima. Metroidvania is born and reigns supreme! Hair of the Dogcast is a proud member of the HyperX Podcast Network. For more information check out podcast.hyperx.com! Contact Us: Twitter: @HOTDogcast Facebook: https://www.facebook.com/hairofthedogcast Instagram: hairofthedogcast To see how you can support us and access a bunch of cool, exclusive perks, visit our Patreon page: https://www.patreon.com/hairofthedogcast We appreciate your support!
Hey! So I was so excited to do this episode because the last time I had Tony on it was such a good time, so I knew it would already be great! But when you add Danny to the mix it was even better! I am so stoked on this band, as soon as I heard the first single I was all for it! And this whole podcast went down so many different paths! Thank you guys for coming on again!
https://astralcodexten.substack.com/p/book-review-contest-2022-winners Thanks to everyone who entered or voted in the book review contest. The winners are: 1st: The Dawn Of Everything, reviewed by Erik Hoel. Erik is a neuroscientist and author of the recent novel The Revelations. He writes at his Substack The Intrinsic Perspective. 2nd: 1587, A Year Of No Significance, reviewed by occasional ACX commenter McClain. =3rd: The Castrato, reviewed by Roger's Bacon. RB is a teacher based in NYC. He writes at Secretorum and serves as head editor at Seeds of Science (ACX grant winner), a journal publishing speculative and non-traditional scientific articles. =3rd: The Future Of Fusion Energy, reviewed by TheChaostician. =3rd: The Internationalists, reviewed by Belos. Belos is working on a new blook titled best of a great lot about system design for effective governance.
https://astralcodexten.substack.com/p/your-book-review-the-castrato [This is one of the finalists in the 2022 book review contest. It's not by me - it's by an ACX reader who will remain anonymous until after voting is done, to prevent their identity from influencing your decisions. I'll be posting about one of these a week for several months. When you've read them all, I'll ask you to vote for a favorite, so remember which ones you liked - SA] Morning of the Mutants “CASTRATO, a musician, who in his infancy had been deprived of the organs of generation, for the sake of preserving a shrill voice, who sings that part called sophrano. However small the connection may appear between two such different organs, it is a certain fact that the mutilation of the one prevents and hinders in the other that change which is perceptible in mankind, near the advance of manhood, and which, on a sudden, lowers their voices an eighth. There exist in Italy, some inhuman fathers, who sacrificing nature to fortune, give up their children to this operation, for the amusement of voluptuous and cruel persons, who have the barbarity to require the exertion of voice which the unhappy wretches possess.” — Jean-Jacques Rousseau, The Complete Dictionary of Music (1779)
In the second of our DNQ Files this week we take a look at the songs that failed to qualify from Semi Final 2 of Eurovision 2022. Matti has been drinking Sadbois, Kris wants Michael Ben David to respect people's personal space and Chrissy continues to make this an educational podcast with information about The Achille Lauro! Dry communities in America Netta - Toy Michael Ben David not respecting personal space Michael Ben David not respecting personal space again Once again, I am asking Michael Ben David to respect people's personal space Jesus H Christ, Michael Ben David, do I need to say it again!? Respect people's personal space *sigh*... am... am I talking to myself, Michael Ben David? What is it about respecting people's personal space and boundaries you don't get? Georgia's Master of Ceremonies Eleni Foureira - Fuego Chanel - Slo Mo Gloria Gaynor - I Am What I Am Gina G - Ooh Aah, Just A Little Bit Emma Muscat - Out Of Sight Emma Muscat - I Am What I Am Official Video Bilal Hassani - Roi The Story Of The Achille Lauro Southern Comfort - Whatever's Comfortable Advert Why Germans love naturism Ryan O'Shaughnessy - Together That Fucking Turkey Ryan Dolan - Only Love Survives Brooke, The Kremlin and The Roop Moe rescues Homer Exit Eden - Total Eclipse Of The Heart Exit Eden - Frozen The last ever Castrato (he wasn't very good) Katerine Duska - Better Love
Hablamos de una celebridad de hace tres siglos, el Michael Jackson del siglo XVIII. El 24 de enero de 1705 nació al sur de Italia Farinelli, el más famoso de los castrati... Por Nieves Concostrina.
Hablamos de una celebridad de hace tres siglos, el Michael Jackson del siglo XVIII. El 24 de enero de 1705 nació al sur de Italia Farinelli, el más famoso de los castrati... Por Nieves Concostrina.
Hablamos de una celebridad de hace tres siglos, el Michael Jackson del siglo XVIII. El 24 de enero de 1705 nació al sur de Italia Farinelli, el más famoso de los castrati... Por Nieves Concostrina.
After a short hiatus, we are back! In this heartfelt episode, we are paying tribute to the beautiful soul known as Anne Rice by telling stories of different supernatural creatures she wrote about. First, Cody talks about the Curse of Tutankhamun, or the Mummy's Curse, in which a number of people died after coming in contact with the tomb. Next, Chris tells us two fascinating legends about a bleeding tree that formed from a man known as El Vampiro. Then, Cody shares a fascinating story about a sleep disorder known as Sleepy Hollow that affected only one small town in Kazakhstan. Finally, Chris talks about the sad and unfortunate history of the Italian Castrati. This week's drinks are Prayers of Sinners Red Blend and Dracula's Blood punch.Advisory: 0:00s-0:20sIntro Music: 0:20s-0:47sTopic: 0:47s-3:17mDrinks: 3:17m-5:07mHistory: 5:07m-12:57mMummy's Curse: 12:57m-21:22mEl Vampiro de Guadalajara: 21:22m-28:02mTrailer: 28:02m-28:34mSleepy Hollow: 28:34m-34:21mCastrati: 34:21m-40:48mSkeptic: 40:48m-44:00mBeliever: 44:00m-47:04mSign Off: 47:04m-47:52mOutro Music: 47:52m-48:11mOriginal Music: “Halloween Pumpkin” found at https://www.purple-planet.comTo find other strange podcasts, follow our network: https://podmoth.network/Links-Historyhttps://en.wikipedia.org/wiki/Anne_RiceMummy's Cursehttps://www.mentalfloss.com/article/23321/victims-king-tuts-cursehttps://en.wikipedia.org/wiki/Curse_of_the_pharaohshttps://www.history.com/this-day-in-history/archaeologist-opens-tomb-of-king-tuthttps://www.penn.museum/sites/expedition/the-curse-of-the-curse-of-the-pharaohs/El Vampiro de Guadalajarahttps://mysteriousuniverse.org/2020/05/the-sinister-tale-of-a-girl-and-a-vampire-in-guadalajara/Sleepy Hollowhttps://www.mentalfloss.com/article/84543/mystery-behind-kazakh-towns-sleeping-sicknessCastratihttps://en.wikipedia.org/wiki/Castratohttps://www.youtube.com/watch?v=KLjvfqnD0wsDebunkhttps://www.livescience.com/44297-king-tut-curse.htmlBelieverhttps://www.cbc.ca/radio/asithappens/as-it-happens-the-monday-edition-1.6284012/anne-rice-used-vampires-to-show-people-they-belong-says-son-1.6284014?fbclid=IwAR2jH1kgFMNzEZ-LkImk09ANFUz-whgNVmyyygH0VnUx_nI3pRXWzHu2HWIhttps://www.theguardian.com/books/2021/dec/15/anne-rice-obituary
This week we learn about the cringe-worthy era of Opera - the Castrato. What made this so popular and what did it mean for these performers? Let's just cut to the chase here. TW: CastrationYou've been warned.
eVisit CTO Miles Romney shares his vision of how Telehealth can be leveraged to support and optimize the concept of Integrated healthcare delivery. The use of telehealth increased significantly during the pandemic but the need exists to ensure that this technology is used to support an integrated care team. Show Notes: Favorite Books: The Castrato by Martha Feldman; Hit Refresh by Satya Nadella; Cash & Dash: How ATMS And Computers Changed Banking by Bernardo Batiz-Lazo; The Everything Store: Jeff Bezos And The Age Of Amazon by Brad Stone. Favorite Podcasts: Dr. Nick: The Incrementalist; Stuff to Blow Your Mind; Soft Skills Engineering; This American Life.
Oh hello there Pt. 2! And now here is the second half of my awesome conversation with the dudes from Nursing! Thank you guys again for coming on! I had such a good time! --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/drivesafetextwhenhome/support
Oh hello there! Today I bring you into the minds of Jonathan and Tony! It was such a good time talking with these dudes! We went off on so many tangents! I love when that happens! Please go check out their music! It is insane! They are such cool dudes and I am so glad that I was able to have them on! Stay tuned until next Monday for Part 2! Thank you! --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/drivesafetextwhenhome/support
Eimear tells the other bluffers the tale of heart throb and unlikely ladies man Giusto Fernando Tenducci. Listen to the Trials of Tenducci here:https://open.spotify.com/album/1k4cJuT0tNed6KYF1iqv8x?si=78owuEV0TqWBwmZW1_2nvw&utm_source=copy-link&dl_branch=1
Brandon's talked about his method acting in the past. This week we learned he's also a Castrato who practices method singing
In this episode, I explore the history and impact that Castrati made on the musical scene of the time. They were indeed a powerful force, both literally and figuratively in shaping musical dexterity, virtuosity, and prowess.Fun FactAlessandro Moreschi was the last castrato to sing in the Sistine Chapel choir. He would retire in 1913, thus ending the Castrati legacy.About StevenSteven is a Canadian composer living in Toronto. He creates a range of works, with an emphasis on the short-form genre—his muse being to offer the listener both the darker and more satiric shades of human existence. If you're interested, please check out his website for more.A Note To Music Students et al.All recordings and sheet music are available on my site. I encourage you to take a look and play through some. Give me a shout if you have any questions.Got a topic? Pop me off an email at: TCMMPodcast@Gmail.com Support the show (https://www.buymeacoffee.com/TCMM)
Charlie and Loren, aka: the Twins, talk about Zack Snyder's cut of Justice League and the DC universe for Dummies, the life of a Castrato, America is an a**hole sometimes, the Disney Channel group: BROCKHAMPTON, and more! Intro Song - WINDOWS by BROCKHAMPTON (feat. SoGone SoFlexy)
Etik meseleler, masalsı sesler ve değişik yöntemlerin karışımını dinleyebiliriz bu bölümde. Peki, castratoluk doğuştan mı gelir yoksa castrato olunur mu? Seslendiren: Berfin KARAKAYA Erişim Kanallarımız https://linktr.ee/MozartCulturesPodcast İnsanlığın Armonisi: Müzik Dünyanın ilk insanından günümüze değin kulakları ve sesleri olan bizler, müziği var ettik. Üstelik bu evrensel dili hepimiz konuşabiliyoruz. Kalplerimize dokunan müzik, bedensel kıpırdanmalarımız oluyor kimi zaman. Bu podcast serimizde trenimiz; cazdan saza, Türk sanat müziğinden Batı müziğine dek vagonlarını uzatıyor. Ölümsüz sanatçıların doğuşlarından ve müziğe dair birçok şeyden söz ediyoruz. Mozartcultures; Türkiye' de tamamı gönüllülerden oluşan ve kâr amacı gütmeyen bir kuruluş olarak,sanatı ve bilimi güneşin doğup battığı tüm topraklara yayabilmek amacıyla çıktığımız bu yolda sizlere çok değerli podcast yayınları dinletmeyi amaçlıyoruz.
Rachel Cowgill interviews Robert Crowe about his work as a male soprano and research on Giovanni Battista Velluti, the last operatic castrato. Robert and Rachel discuss the differences between the castrato, countertenor, and male soprano voices, how the public reacted to Velluti in nineteenth-century London, and what it means to be an artist at the end of an era. This episode features extracts from Robert's award-winning CD, 'The Romantic Castrato' (Toccata Classics, 2020), on which he sings music from Velluti's repertoire. Clip 1: ‘Eco o numi' from Carlo Magno by Giuseppe Nicolini. Clip 2: ‘Nel cor più non mi sento' from La Molinara by Giovanni Paisiello. Clip 3: ‘Ah can I think of days gone by?' by Thomas Welsh. Thanks to Martin Anderson and David Weuste for generously allowing us to play these tracks. You can stream 'The Romatic Castrato' or buy it here: https://toccataclassics.com/product/the-romantic-castrato/ Rachel Cowgill's profile: https://www.york.ac.uk/music/staff/academic/rachelcowgill/ Robert Crowe's website: https://www.robertcrowe.com/ Bent Notes is produced by the LGBTQ+ Music Study Group: https://www.lgbtqmusicstudygroup.com/
The Perfume Nationalist has been cancelled. In a state of catatonia after the implementation of eternal pandemic lockdown Communism, Jack dreams of an exhaustive, nine-hour, research-intensive discussion of David Lean's 1965 historical epic, Doctor Zhivago, Ken Russell's lurid 1971 biopic on Tchaikovsky, The Music Lovers, and two leather perfumes, Cuir de Russie by Areej le Dore and Cuir de Russie by Chanel. Castrato invalid Christlover2000 manifests and painstakingly relives the recording of the first of her three, possibly four podcasts on rape and autogynephilia, Girls Chat, and the unspeakable horrors of the house where it all happened. It is up to Ortant Aper to recover the audio from the shadow realm and piece together the clues. What is art? Can the human spirit prevail under these conditions? To enjoy the remaining eight hours and forty-nine minutes of this episode and to gain access to the full catalog of TPN content please support us at https://www.patreon.com/perfumenationalist
EPISODIO 29 Temporada 2-5.EPISODIO PATROCINADO POR:CBM CLASES DE BATERÍA MADRID https://clasesdebateriamadrid.com .LIBRO RECOMENDADO por Simone. The art of be bob drumming.https://amzn.to/34rRFfR….TOP TRI.Simone: Elio Rivagli: https://www.youtube.com/watch?v=1IXkK-GYMeEBruno Farinelli:https://www.youtube.com/watch?v=DQNwyHPqZNAFranco Rossi:https://www.youtube.com/watch?v=HasyJCG5fCU Iñigo:Matt Sorum: https://www.youtube.com/watch?v=RHP1hU-0AIM/.Lars Ulrich: https://youtu.be/oDzg5gfkx60 .Gene Krupa: https://youtu.be/c8yDGLZv-LM .y de muchas cosas más!Síguenos en: FB: https://www.facebook.com/Drumless-el-Podcast-101614758071997 .INSTAGRAM: https://www.instagram.com/drumlesspodcast/ .TELEGRAM: https://t.me/drumlesspodcast .SIMONE:https://www.simonefolcarelli.com .
[2:01 PM] John Pitman BODY: Aryeh Nussbaum Cohen, at 25, has already made a strong impression in the world of Baroque opera and beyond, with his powerful yet supple voice. The American countertenor, who has made several recordings (including contemporary music, such as by Kenneth Fuchs), specializes in 18th century music, when the male singer known as the Castrato reigned supreme. Nowadays a specially-developed voice technique, countertenors are prominent parts of productions such as in Handel's Saul, recorded recently by Philharmonia Baroque Orchestra under Nicholas McGegan. Mr. Cohen shares some great stories about his experiences singing onstage, the history of countertenors, and his almost-Portland debut in "Bazajet" before the pandemic brought that opportunity to a standstill. Host John Pitman shares his interview, along with selections featuring this prominent young singer.
Seattle Opera Dramaturg Jonathan Dean investigates two voice types infrequently encountered in opera: trebles (boy sopranos and adolescent female sopranos) and countertenors. Features conversation with Seattle Opera coach-accompanist Jay Rozendaal, and musical examples: TURN OF THE SCREW (Rafi Bellamy Plaice and Forrest Wu), LAKMÉ (Harolyn Blackwell), THE MAGIC FLUTE (Johanna Mergener, Emili Rice, and Isabel Woods), HANSEL & GRETEL (Sasha Cooke and Ashley Emerson), SIEGFRIED (Juls Serger and Julianne Gearhart), FALSTAFF (Peter Rose), Freddie Mercury, Colm Wilkinson, and Will Oakland, I PURITANI (Luciano Pavarotti and Lawrence Brownlee), Alessandro Moreschi, GIULIO CESARE (Bryn Terfel, Milijana Mijanovic, and Jochen Kowalski singing “Va, tacito” and Brian Asawa singing “L’empio, sleale, indegno”) and A MIDSUMMER NIGHT’S DREAM (Anthony Roth Costanzo).
Fred and his brother William travel to Milan in 1902 with the aim of convincing opera superstar Enrico Caruso to record for them. However Caruso is busy and non-committal, so the men seek out other forms of sound to record while they wait for an answer. Aiming high, they approach the Pope to ask if he'd be up for recording something (as you would). The pontiff declines but invites them to record the Sistine Chapel Choir in the Vatican instead. And so, by lucky happenstance and perhaps unwittingly, the brothers find themselves capturing the extraordinary voice of Alessandro Moreschi, one of the last castratos ever to sing before a ban on the practice comes into force… Hosted on Acast. See acast.com/privacy for more information.
For over two centuries in early modern Italy, boys were selected for their singing talent castrated before the onset of puberty. The goal was to preserve the qualities of their voice even as they grew into manhood. The procedure resulted in other physiological changes which, combined with an unnaturally high voice, made the castrati the most prodigious singers on the continent. As Martha Feldman shows in her book The Castrato, a masterpiece of cultural history, the castrated singer was such a singular figure that he invited comparisons with angels, animals, and kings, attracting adoration and ridicule in equal measures. The castrato was a true liminal being, and as JF and Phil discover in this episode of Weird Studies, an unlikely herald of the present age. REFERENCES Martha Feldman, The Castrato: Reflections on Natures and Kinds (https://www.ucpress.edu/book/9780520292444/the-castrato) Stanley Kubrick (https://en.wikipedia.org/wiki/Stanley_Kubrick), American filmmaker Alessandro Moreschi (https://en.wikipedia.org/wiki/Alessandro_Moreschi), the last castrato, singing "Ave Maria (https://www.youtube.com/watch?v=KLjvfqnD0ws)" Baruch Spinoza, Ethics (https://www.gutenberg.org/files/3800/3800-h/3800-h.htm) X-Men (https://en.wikipedia.org/wiki/X-Men) Gabriel Garcia Marquez, "A Very Old Man with Enormous Wings (https://en.wikipedia.org/wiki/A_Very_Old_Man_with_Enormous_Wings)" Thomas Ligotti, "Mrs Ligotti's Angel (https://www.youtube.com/watch?v=Wm1iH6EIMAA)", read by horror writer Jon Padgett (https://www.goodreads.com/author/show/7189686.Jon_Padgett) Weird Studies, Episode 48: Thomas Ligotti's Angel (https://www.weirdstudies.com/46) Thomas Aquinas, [Summa Theologica](https://en.wikipedia.org/wiki/SummaTheologica)_ Genesis P-Orridge (https://en.wikipedia.org/wiki/Genesis_P-Orridge), American musician and occultist
#Castration (also known as orchiectomy or orchidectomy) is any action, surgical, chemical, or otherwise, by which an individual loses use of the testicles: the male gonad. Surgical castration is bilateral orchidectomy (excision of both testes), and chemical castration uses pharmaceutical drugs to deactivate the testes. A #castrato (Italian, plural: castrati) is a type of classical male singing voice equivalent to that of a soprano, mezzo-soprano, or contralto. The voice is produced by castration of the singer before puberty, or it occurs in one who, due to an endocrinological condition, never reaches sexual maturity. Castration before puberty (or in its early stages) prevents a boy's larynx from being transformed by the normal physiological events of puberty. As a result, the vocal range of prepubescence (shared by both sexes) is largely retained, and the voice develops into adulthood in a unique way. Prepubescent castration for this purpose diminished greatly in the late 18th century and was made illegal in the Papal states, the last to prohibit them, in 1870. As the castrato's body grew, his lack of testosterone meant that his epiphyses (bone-joints) did not harden in the normal manner. Thus the limbs of the castrati often grew unusually long, as did the bones of their ribs. This, combined with intensive training, gave them unrivalled lung-power and breath capacity.[1] Operating through small, child-sized vocal cords, their voices were also extraordinarily flexible, and quite different from the equivalent adult female voice. Their vocal range was higher than that of the uncastrated adult male. Listening to the only surviving recordings of a castrato (see below), one can hear that the lower part of the voice sounds like a "super-high" tenor, with a more falsetto-like upper register above that. #Castrati were rarely referred to as such: in the 18th century, the euphemism musico (pl musici) was much more generally used, although it usually carried derogatory implications;[2] another synonym was evirato, literally meaning "emasculated". Eunuch is a more general term since, historically, many eunuchs were castrated after puberty and thus the castration had no impact on their voices. #NightHunter --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/vegansteven/message
Il tuo cane è attratto dalle femmine in calore anche se è stato castrato? Scappa e cerca l’accoppiamento?Se pensi che l’intervento non abbia funzionato, aspetta! Non preoccuparti perché potrebbe essere un comportamento normale.In realtà, capita spesso che un cane castrato possa mostrare interesse verso una femmina in calore.Questa attrazione avviene anche senza la presenza del testosterone perché l’atto dell’accoppiamento per il maschio è fatto da una sequenza meccanica.Ciò che porta un cane castrato a cercare l’accoppiamento è il ricordo dell’esperienza positiva trasmessa dall’ossitocina, l’ormone che fissa le sensazioni a livello celebrale.Ecco perché se un cane si è già accoppiato prima della castrazione è probabile che mantenga più a lungo questo comportamento, anche se diminuirà nel corso del tempo.Ringraziamo la dott.ssa Maria Carmela Pisu per aver redatto il contenuto scientifico sulla base del quale è stato realizzato questo approfondimento.
In this series of podcasts, Seattle Opera Dramaturg Jonathan Dean gives listeners a taste of nine different types of traditional opera. Opera seria, traditional Italian serious opera, developed in the mid-1600s and lasted into the early 1800s. Handel’s Giulio Cesare (Julius Caesar), an opera from 1724, is a great masterpiece and an examplar of the genre; another is Gluck’s Orfeo ed Euridice (aka Orphée et Eurydice, aka Orpheus and Euridice, 1762/1774). Musical examples on the podcast drawn from recordings of Gluck’s Iphigénie en Tauride, Les Musiciens du Louvre conducted by Mark Minkowski (Archiv 1999); Monteverdi’s L’incoronazione di Poppea, Della Jones and Mark Tucker with the City of London Baroque Sinfonia conducted by Richard Hickox (Virgin Classics 1988); Gluck’s Alceste, Kirsten Flagstad and Geraint Jones Orchestra conducted by Geraint Jones (Decca 1956); Ercole sul Termodonte, Topi Lehtipuu and Rolando Villazón conducted by Fabio Biondi (Virgin Classics 2009); Giulio Cesare, Anne Sofie von Otter, Marijana Mijanović, Magdalena Kožená, and Les Musiciens du Louvre conducted by Mark Minkowski (Archiv 2002); also Giulio Cesare, Derek Lee Ragin and Concerto Köln conducted by René Jacobs (Harmonia Mundi 1991); Gluck’s Orphée et Eurydice, Maria Callas and Orchestre National de la Radiodiffusion Française, 1961; and Seattle Opera’s 2015 production of Semele conducted by Gary Thor Wedow.
Nick & Los sit down with Miles Mortali and Eric Pumkins to do a podcast after the "Comedy Night at The Grove" show. Stay Tuned: Mortali & Pumkins - 3rd Thursdays of the month at 30 Mile Brewing Co. for "COMEDY BINGO" starting at 7PM. Located at 39 Ragged Rock Rd, Old Saybrook, CT 06475 Nick - Broadway Comedy Club April 19TH 26TH and May 3rd & 10th at 9:40 PM. Located 318 W 53rd St, New York, NY 10019 LOS - Stream DJ Lack Of Sleep on all platforms Follow us: Miles Mortali - www.instagram.com/miles.mortali.comedy Meat Slap Podcast - www.instagram.com/meatslappodcast/ Altered Cognition - www.instagram.com/alteredcognition Nick Breen - www.instagram.com/nick_am_ DJ L.O.S - www.instagram.com/djlackofsleep The Red Baron - www.instagram.com/tharedbaronct Email us: alteredcognitionpodcast@gmail.com
This week on Can't Get Right, Kurt is joined by comedians Kyle Dunnigan, Chrissie Mayre, Monare Martinez and Bryan Vokey! We discuss female masturbation and how it can keep you from egging houses at age 35, Corey Feldman's groundbreaking documentary 'A Tale of Two Coreys,' Congressmen Ken Buck's favorite gun to sodomize, the tradition of the Castrato, relationship advice for demisexuals, babies born without anuses as well as delving deep into Chrissie's falling out with the infamous Bagel Boss. Bruce Jenner also drops in to tell a couple tales. All this and more on this weeks episode of Can't Get Right With Kurt Metzger! Follow Kurt Metger: https://twitter.com/kurtmetzgerFollow Kyle Dunnigan: https://twitter.com/kyledunnigan Follow Chrissie Mayr: https://www.instagram.com/chrissiemayr Follow Monare Martinez: https://www.instagram.com/monareym Follow Bryan Vokey: https://www.instagram.com/bryanjvokeyYou can watch LIVE and FREE every Tuesday at 6:30pm est ONLY on http://www.GaSDigitalNetwork.com/Live. If you missed the live episode, you can sign up to the network and get our entire archive in full HD, join the live chat, message boards, plus access to every show available on the network! Just visit http://www.GaSDigitalNetwork.com/Kurt and use promo code KURT to get a 14 day free trial and $1 off at sign up.
Tomáš Procházka z kapely B4 opustil kůlnu v Lužických horách, aby převzal v Praze už podruhé cenu Vinyla za nejlepší album, a to za Plastová okna. Při té příležitosti se zastavil, aby posluchačům Radia Wave doporučil z kvanta jeho oblíbené hudby to, co rád v poslední době poslouchá.
- 3.35 Opera and gender construction - 5.36 “Tuneful scarecrows”: orchiectomy and its effects - 6.35 Masters of the voice: the castrato training - 9.20 Voice and femininity - 11.25 The ambivalence of the church - 13.10 The apex of the castrati era - 14.03 The end of the castrati era - 17.49 The influence of the Cecilian movement on religious music - 20.37 The legacy of the castrati Today’s speakers are Noemi André and Nicholas Clapton.
A candid angel, a bratty popstar and a cunning smuggler: what have they in common? They sacrificed their testicles and gained a splendid voice. In this episode of Italian Culture, we investigate the fascinating world of the castrati singers. From the Baroque era to the Twentieth century, we’ll follow the stories of three emblematic castrati, trying to understand how and why such a joyous expression of human talent had his roots in violence and blood. Today’s guests are Noemi André and Nicholas Clapton.
Smile about the story how castrati became fashionable in the eighteenth century. Read more anecdotes on the YouTube channel «Anecdotes from the world of Opera». If you want to know more about opera, opera-Inside offers you everything your heart desires. Visit the opera blog WWW.OPERA-INSIDE.COM and learn interesting facts about famous operas. With beautiful YouTube videos by the best performers such as Luciano Pavarotti, Placido Domingo or Maria Callas.
Cosa accomuna la sentenza da poco emessa dall'antitrust italiana nei confronti di Apple e i giudizi della rete su iPhone XR?Apple è stata davvero accusata e condannata per obsolescenza programmata? Cosa dice la sentenza a riguardo?In pochissimi esempi vi mostriamo errori e imprecisioni, dettagli che non tornano che, francamente, ci hanno lasciato allibiti. Lo stesso può dirsi dei commenti su iPhone XR, l'ultimo arrivata di casa Apple che continua a far discutere.Nell'eterna lotta tra tecnologia e percezione, marketing e sostanza, competenza tecnologica e fashionismo 2.0 ... insomma... iPhone XR è davvero un terminale castrato? Ci sarà MOLTO da discutere in un podcasts acceso come non mai.Conduttori:Giovanni: www.twitter.com/giolongooClaudio: www.twitter.com/clauoitaFeedback?Potete segnalarci temi da approfondire, dire la vostra o darci qualunque tipo di feedback suTwitter col consueto hashtag #iPhoneItaliaPodcast.Potete, inoltre, darci una valutazione su Apple Podcast e seguirci su Spreaker per aiutare più persone a scoprire il nostro podcast.I vostri consigli ed i vostri commenti sono preziosi per noi, sul serio.
Filippo Mineccia, Countertenor | Orchester Divino Sospiro, Massimo Mazzeo
Ernesto Tomasini is an Italian actor/singer/writer living in Britain. Best known for his more recent forays into contemporary music, he has also had a 30-year career on the stage. Ernesto begun his career at 16 on the Italian comedy circuit and, later, in the legitimate theatre. Throughout his teens Ernesto devised comedy sketches and sang songs in smoky clubs and small cabaret spaces in his home town of Palermo. On one instance he caused a riot by performing his "outrageous" show at a conservative political party's celebrations. He kept his cabaret activities secret from his parents; his mother found out the truth about her son's suspicious nights out long after his debut, by reading an article about his shows on the national press. He has sung his repertoire in London venues like the Royal Albert Hall (main house and Elgar Room), Purcell Room, National Theatre, Roundhouse, Cadogan Hall, Tate Britain, National Portrait Gallery, and in historical theatres, museums and churches around the world. As a recording artist he sings on thirteen albums, four singles, five music videos and on the soundtrack of a film by Bruce LaBruce. For more information click below. Thanks You can find Ernesto Tomasini here: Website: www.ernestotomasini.com Twitter: @ernestotomasini Facebook: Ernesto Tomasini Instragram: ernesto_tomasini Wikipedia: Ernesto Tomasini
Bill Burr's Monday Morning Podcast, a rundown of various types of sports, and the secret martial art that became the modern game of golf. Also, thoughts on uncouth methods of castration. Feedback: feedback@thewardpodcast.com web: https://theward.libsyn.com Twitter: @TheWardPodcast_
老少咸宜的古典音乐启蒙节目。庞艳，McNally Smith College of Music钢琴硕士/国际部中国市场总监；University of Minnesota音乐学院作曲博士/青年教师。逗喵，心理咨询硕士，音乐爱好者。逗喵提供的是关于古典音乐专业、有趣的知识。会用逗比、简单的方式向你阐述西方古典音乐的前世今生。公共微信号：doumiaoradio。QQ群：逗喵音乐教室－巴赫，群号243110857。微博：McNallySmith音乐学院庞艳重要单词：皇家音乐学院royal academy of music；里纳尔多Rinaldo；女王陛下剧院Her Majesty‘s Theather；严肃歌剧opera seria；剧本libretto；假声歌手falsettist；宣叙调recitative；咏叹调aria；阉人歌手Castrato；再次重复开头da capo form；装饰成分ornamentation；凯撒大帝Julius Caesar；配图1:女王陛下剧院Her Majesty‘s Theather 内部配图2: 女王陛下剧院Her Majesty‘s Theather外部配图03: Philippe Jaroussky假声歌手配图04: 绝代妖姬，B站可看！
Welcome to episode 5! In this episode we pick up where we left off in episode 4 in our discussion of the Castrati - the rock stars of the 18th century! In part 2, we focus on one of the most famous Castrato singers in history - FARINELLI!
Caffarelli composes a special episode on Alessandro Moreschi, the famous castrato opera singer whose voice was preserved by early recording technology. She discusses his life, his music, limitations on recordings, and the practice of musical castration. This solo episode is followed by a short Q&A session.
Rone – (00) (Creatures). France Aes Dana – A carmine day (Pollen). France Molecule – Abysses (60°43´Nord). France Arandel – Section 12 (Solarispellis). France Oliver Lieb & Dennis P. Sarratou – (System der Vernunft Part 2). Allemagne Pink Floyd – Things left unsaid (The endless river). UK Pete Namlook – Air “you” coda (Replugged). Allemagne Les nouvelles polyphonies corses – Giramondu (Les nouvelles polyphonies corses). France Steve Roach - The otherworld (Mystic chords & sacred spaces). USA Yasuaki Shimizu – Mushi (Seventh garden). Japon Ethik II – Direction (Individual/Traffic). Allemagne
George Frideric HANDEL 1685-1759Our version ofAllemande in Am (HWV 478)George Frideric HANDEL 1685-1759© 2012 Shiloh Worship Music COPY FREELY;This Recording is copyrighted to prevent misuse, however,permission is granted for non-commercial copying-Radio play permitted. Www.ShilohWorshipMusic.com Georg Friedrich Händel (1685-1759)George Frideric Handel(from Wikipedia) George Frideric Handel, born in the same year as Johann Sebastian Bach and Domenico Scarlatti. By Thomas Hudson (1749)George Frideric Handel SignatureGeorge Frideric Handel (German: Georg Friedrich Händel; pronounced [ˈhɛndəl]) (23 February 1685 – 14 April 1759) was a German-British Baroque composer, famous for his operas, oratorios, anthems and organ concertos. Handel was born in 1685, in a family indifferent to music. He received critical musical training in Halle, Hamburg and Italy before settling in London (1712) and becoming a naturalised British subject in 1727.[1] By then he was strongly influenced by the great composers of the Italian Baroque and the middle-German polyphonic choral tradition.Within fifteen years, Handel, a dramatic genius, started three commercial opera companies to supply the English nobility with Italian opera, but the public came to hear the vocal bravura of the soloists rather than the music. In 1737 he had a physical breakdown, changed direction creatively and addressed the middle class. As Alexander's Feast (1736) was well received, Handel made a transition to English choral works. After his success with Messiah (1742) he never performed an Italian opera again. Handel was only partly successful with his performances of English Oratorio on mythical and biblical themes, but when he arranged a performance of Messiah to benefit the Foundling Hospital (1750) the critique ended. The pathos of Handel's oratorios is an ethical one. They are hallowed not by liturgical dignity but by the moral ideals of humanity.[2] Almost blind, and having lived in England for almost fifty years, he died a respected and rich man.Handel is regarded as one of the greatest composers of all time, with works such as Water Music, Music for the Royal Fireworks and Messiah remaining popular. Handel composed more than forty operas in over thirty years, and since the late 1960s, with the revival of baroque music and original instrumentation, interest in Handel's operas has grown. His operas contain remarkable human characterisation—especially for a composer not known for his love affairs.Early yearsHandel's baptismal registration (Marienbibliothek in Halle)Handel was born in 1685 in Halle, Duchy of Magdeburg, to Georg Händel and Dorothea Taust.[3] His father, 63 when his son was born, was an eminent barber-surgeon who served to the court of Saxe-Weissenfels and the Margraviate of Brandenburg.[4] According to Handel's first biographer, John Mainwaring, he "had discovered such a strong propensity to Music, that his father who always intended him for the study of the Civil Law, had reason to be alarmed. He strictly forbade him to meddle with any musical instrument but Handel found means to get a little clavichord privately convey'd to a room at the top of the house. To this room he constantly stole when the family was asleep".[5] At an early age Handel became a skillful performer on the harpsichord and pipe organ.[6]Händel-Haus (2009) – birthplace of George Frideric HandelEntrance of Teatro del Cocomero in FlorenceHandel and his father travelled to Weissenfels to visit either Handel's half-brother, Carl, or nephew, Georg Christian,[7] who was serving as valet to Duke Johann Adolf I.[8] Handel and the duke convinced his father to allow him to take lessons in musical composition and keyboard technique from Friedrich Wilhelm Zachow, the organist of the Lutheran Marienkirche. He learned about harmony and contemporary styles, analysed sheet music scores, learned to work fugue subjects, and to copy music. In 1698 Handel played for Frederick I of Prussia and met Giovanni Battista Bononcini in Berlin.From Halle to ItalyThe Hamburg Opera am Gänsemarkt in 1726In 1702, following his father's wishes, Handel started studying law under Christian Thomasius at the University of Halle;[9] and also earned an appointment for one year as the organist in the former cathedral, by then an evangelical reformed church. Handel seems to have been unsatisfied and in 1703, he accepted a position as violinist and harpsichordist in the orchestra of the Hamburg Oper am Gänsemarkt.[10] There he met the composers Johann Mattheson, Christoph Graupner and Reinhard Keiser. His first two operas, Almira and Nero, were produced in 1705.[11] He produced two other operas, Daphne and Florindo, in 1708. It is unclear whether Handel directed these performances.According to Mainwaring, in 1706 Handel travelled to Italy at the invitation of Ferdinando de' Medici, but Mainwaring must have been confused. It was Gian Gastone de' Medici, whom Handel had met in 1703–1704 in Hamburg.[12] Ferdinando tried to make Florence Italy's musical capital, attracting the leading talents of his day. He had a keen interest in opera. In Italy Handel met librettist Antonio Salvi, with whom he later collaborated. Handel left for Rome and, since opera was (temporarily) banned in the Papal States, composed sacred music for the Roman clergy. His famous Dixit Dominus (1707) is from this era. He also composed cantatas in pastoral style for musical gatherings in the palaces of cardinals Pietro Ottoboni, Benedetto Pamphili and Carlo Colonna. Two oratorios, La Resurrezione and Il Trionfo del Tempo, were produced in a private setting for Ruspoli and Ottoboni in 1709 and 1710, respectively. Rodrigo, his first all-Italian opera, was produced in the Cocomero theatre in Florence in 1707.[13] Agrippina was first produced in 1709 at Teatro San Giovanni Grisostomo, the prettiest theatre at Venice, owned by the Grimanis. The opera, with a libretto by cardinal Vincenzo Grimani, and according to Mainwaring it ran for 27 nights successively. The audience, thunderstruck with the grandeur and sublimity of his style,[14] applauded for Il caro Sassone.Move to LondonGeorge Frideric Handel (left) and King George I on the River Thames, 17 July 1717, by Edouard Jean Conrad Hamman (1819–88).In 1710, Handel became Kapellmeister to German prince George, Elector of Hanover, who in 1714 would become King George I of Great Britain.[15] He visited Anna Maria Luisa de' Medici and her husband in Düsseldorf on his way to London in 1710. With his opera Rinaldo, based on La Gerusalemme Liberata by the Italian poet Torquato Tasso, Handel enjoyed great success, although it was composed quickly, with many borrowings from his older Italian works.[16] This work contains one of Handel's favourite arias, Cara sposa, amante cara, and the famous Lascia ch'io pianga.In 1712, Handel decided to settle permanently in England. He received a yearly income of £200 from Queen Anne after composing for her the Utrecht Te Deum and Jubilate, first performed in 1713.[17][18]One of his most important patrons was the young and wealthy Richard Boyle, 3rd Earl of Burlington.[19] For him Handel wrote Amadigi di Gaula, a magical opera, about a damsel in distress, based on the tragedy by Antoine Houdar de la Motte.The conception of an opera as a coherent structure was slow to capture Handel's imagination[20] and he renounced it for five years. In July 1717 Handel's Water Music was performed more than three times on the Thames for the King and his guests. It is said the compositions spurred reconciliation between the King and Handel.[21]Cannons (1717–18)Main article: Handel at CannonsThe Chandos portrait. The 1st Duke of Chandos was an important patron for Handel.In 1717 Handel became house composer at Cannons in Middlesex, where he laid the cornerstone for his future choral compositions in the twelve Chandos Anthems.[22] Romain Rolland stated that these anthems were as important for his oratorios as the cantatas were for his operas.[23] Another work he wrote for the Duke of Chandos, the owner of Cannons, was Acis and Galatea: during Handel's lifetime it was his most performed work. Winton Dean wrote, "the music catches breath and disturbs the memory".[24]In 1719 the Duke of Chandos became one of the main subscribers to Handel's new opera company, the Royal Academy of Music, but his patronage of music declined after he lost money in the South Sea bubble, which burst in 1720 in one of history's greatest financial cataclysms. Handel himself invested in South Sea stock in 1716, when prices were low[25] and sold before 1720.[26]Royal Academy of Music (1719–34)Main article: Royal Academy of Music (company)Handel House at 25 Brook Street, Mayfair, LondonIn May 1719 Lord Chamberlain Thomas Holles, the Duke of Newcastle ordered Handel to look for new singers.[27] Handel travelled to Dresden to attend the newly built opera. He saw Teofane by Antonio Lotti, and engaged the cast for the Royal Academy of Music, founded by a group of aristocrats to assure themselves a constant supply of baroque opera or opera seria. Handel may have invited John Smith, his fellow student in Halle, and his son Johann Christoph Schmidt, to become his secretary and amanuensis.[28] By 1723 he had moved into a Georgian house at 25 Brook Street, which he rented for the rest of his life.[29] This house, where he rehearsed, copied music and sold tickets, is now the Handel House Museum.[30] During twelve months between 1724 and 1725, Handel wrote three outstanding and successful operas, Giulio Cesare, Tamerlano and Rodelinda. Handel's operas are filled with da capo arias, such as Svegliatevi nel core. After composing Silete venti, he concentrated on opera and stopped writing cantatas. Scipio, from which the regimental slow march of the British Grenadier Guards is derived,[31] was performed as a stopgap, waiting for the arrival of Faustina Bordoni.In 1727 Handel was commissioned to write four anthems for the coronation ceremony of King George II. One of these, Zadok the Priest, has been played at every British coronation ceremony since.[32] In 1728 John Gay's The Beggar's Opera premiered at Lincoln's Inn Fields Theatre and ran for 62 consecutive performances, the longest run in theatre history up to that time.[citation needed] After nine years Handel's contract was ended but he soon started a new company.The Queen's Theatre at the Haymarket (now Her Majesty's Theatre), established in 1705 by architect and playwright John Vanbrugh, quickly became an opera house.[33] Between 1711 and 1739, more than 25 of Handel's operas premièred there.[34] In 1729 Handel became joint manager of the Theatre with John James Heidegger.A musical portrait of Frederick, Prince of Wales and his sisters by Philip Mercier, dated 1733, using Kew Palace as its plein-air backdropThe Queen's Theatre in the Haymarket in London by William CaponHandel travelled to Italy to engage seven new singers. He composed seven more operas, but the public came to hear the singers rather than the music.[35] After two commercially successful English oratorios Esther and Deborah, he was able to invest again in the South Sea Company. Handel reworked his Acis and Galatea which then became his most successful work ever. Handel failed to compete with the Opera of the Nobility, who engaged musicians such as Johann Adolf Hasse, Nicolo Porpora and the famous castrato Farinelli. The strong support by Frederick, Prince of Wales caused conflicts in the royal family. In March 1734 Handel directed a wedding anthem This is the day which the Lord hath made, and a serenata Parnasso in Festa for Anne of Hanover.[36]Opera at Covent Garden (1734–41)In 1733 the Earl of Essex received a letter with the following sentence: "Handel became so arbitrary a prince, that the Town murmurs". The board of chief investors expected Handel to retire when his contract ended, but Handel immediately looked for another theatre. In cooperation with John Rich he started his third company at Covent Garden Theatre. Rich was renowned for his spectacular productions. He suggested Handel use his small chorus and introduce the dancing of Marie Sallé, for whom Handel composed Terpsichore. In 1735 he introduced organ concertos between the acts. For the first time Handel allowed Gioacchino Conti, who had no time to learn his part, to substitute arias.[37] Financially, Ariodante was a failure, although he introduced ballet suites at the end of each act.[38] Alcina, his last opera with a magic content, and Alexander's Feast or the Power of Music based on John Dryden's Alexander's Feast starred Anna Maria Strada del Pò and John Beard.In April 1737, at age 52, Handel apparently suffered a stroke which disabled the use of four fingers on his right hand, preventing him from performing.[39] In summer the disorder seemed at times to affect his understanding. Nobody expected that Handel would ever be able to perform again. But whether the affliction was rheumatism, a stroke or a nervous breakdown, he recovered remarkably quickly .[40] To aid his recovery, Handel had travelled to Aachen, a spa in Germany. During six weeks he took long hot baths, and ended up playing the organ for a surprised audience.[41]Deidamia, his last and only baroque opera without an accompagnato, was performed three times in 1741. Handel gave up the opera business, while he enjoyed more success with his English oratorios.[citation needed]OratorioFurther information: List of Handel's OratoriosHandel by Philip MercierIl Trionfo del Tempo e del Disinganno, an allegory, Handel's first oratorio[42] was composed in Italy in 1707, followed by La Resurrezione in 1708 which uses material from the Bible. The circumstances of Esther and its first performance, possibly in 1718, are obscure.[43] Another 12 years had passed when an act of piracy caused him to take up Esther once again.[44] Three earlier performances aroused such interest that they naturally prompted the idea of introducing it to a larger public. Next came Deborah, strongly coloured by the Anthems[45] and Athaliah, his first English Oratorio.[46] In these three oratorios Handel laid foundation for the traditional use of the chorus which marks his later oratorios.[47] Handel became sure of himself, broader in his presentation, and more diverse in his composition.[48]It is evident how much he learnt from Arcangelo Corelli about writing for instruments, and from Alessandro Scarlatti about writing for the solo voice; but there is no single composer who taught him how to write for chorus.[49] Handel tended more and more to replace Italian soloists by English ones. The most significant reason for this change was the dwindling financial returns from his operas.[50] Thus a tradition was created for oratorios which was to govern their future performance. The performances were given without costumes and action; the performers appeared in a black suit.[51]Caricature of Handel by Joseph Goupy (1754)In 1736 Handel produced Alexander's Feast. John Beard appeared for the first time as one of Handel's principal singers and became Handel's permanent tenor soloist for the rest of Handel's life.[52] The piece was a great success and it encouraged Handel to make the transition from writing Italian operas to English choral works. In Saul, Handel was collaborating with Charles Jennens and experimenting with three trombones, a carillon and extra-large military kettledrums (from the Tower of London), to be sure "...it will be most excessive noisy".[53] Saul and Israel in Egypt both from 1739 head the list of great, mature oratorios, in which the da capo and dal segno aria became the exception and not the rule.[54] Israel in Egypt consists of little else but choruses, borrowing from the Funeral Anthem for Queen Caroline. In his next works Handel changed his course. In these works he laid greater stress on the effects of orchestra and soloists; the chorus retired into the background.[55] L'Allegro, il Penseroso ed il Moderato has a rather diverting character; the work is light and fresh.During the summer of 1741, the 3rd Duke of Devonshire invited Handel to Dublin to give concerts for the benefit of local hospitals.[56] His Messiah was first performed at the New Music Hall in Fishamble Street, on 13 April 1742, with 26 boys and five men from the combined choirs of St Patrick's and Christ Church cathedrals participating.[57] Handel secured a balance between soloists and chorus which he never surpassed.The use of English soloists reached its height at the first performance of Samson. The work is highly theatrical. The role of the chorus became increasingly import in his later oratorios. Jephtha was first performed on 26 February 1752; even though it was his last oratorio, it was no less a masterpiece than his earlier works.[58]Later yearsGeorge Frideric Handel in 1733, by Balthasar Denner (1685–1749)In 1749 Handel composed Music for the Royal Fireworks; 12,000 people attended the first performance.[59] In 1750 he arranged a performance of Messiah to benefit the Foundling Hospital. The performance was considered a great success and was followed by annual concerts that continued throughout his life. In recognition of his patronage, Handel was made a governor of the Hospital the day after his initial concert. He bequeathed a copy of Messiah to the institution upon his death.[60] His involvement with the Foundling Hospital is today commemorated with a permanent exhibition in London's Foundling Museum, which also holds the Gerald Coke Handel Collection. In addition to the Foundling Hospital, Handel also gave to a charity that assisted impoverished musicians and their families.In August 1750, on a journey back from Germany to London, Handel was seriously injured in a carriage accident between The Hague and Haarlem in the Netherlands.[61] In 1751 one eye started to fail. The cause was a cataract which was operated on by the great charlatan Chevalier Taylor. This led to uveitis and subsequent loss of vision. He died eight years later in 1759 at home in Brook Street, at age 74. The last performance he attended was of Messiah. Handel was buried in Westminster Abbey.[62] More than three thousand mourners attended his funeral, which was given full state honours.Handel never married, and kept his personal life private. His initial will bequeathed the bulk of his estate to his niece Johanna. However four codicils distributed much of his estate to other relations, servants, friends and charities.[63]Handel owned an art collection that was auctioned posthumously in 1760.[64] The auction catalogue listed approximately seventy paintings and ten prints (other paintings were bequeathed).[64]WorksSenesino, the famous castrato from SienaMain articles: List of compositions by George Frideric Handel and List of operas by Handel.Handel's compositions include 42 operas, 29 oratorios, more than 120 cantatas, trios and duets, numerous arias, chamber music, a large number of ecumenical pieces, odes and serenatas, and 16 organ concerti. His most famous work, the oratorio Messiah with its "Hallelujah" chorus, is among the most popular works in choral music and has become the centrepiece of the Christmas season. Among the works with opus numbers published and popularised in his lifetime are the Organ Concertos Op.4 and Op.7, together with the Opus 3 and Opus 6 concerti grossi; the latter incorporate an earlier organ concerto The Cuckoo and the Nightingale in which birdsong is imitated in the upper registers of the organ. Also notable are his sixteen keyboard suites, especially The Harmonious Blacksmith.Handel introduced previously uncommon musical instruments in his works: the viola d'amore and violetta marina (Orlando), the lute (Ode for St. Cecilia's Day), three trombones (Saul), clarinets or small high cornetts (Tamerlano), theorbo, horn (Water Music), lyrichord, double bassoon, viola da gamba, bell chimes, positive organ, and harp (Giulio Cesare, Alexander's Feast).[65]Handel's works have been catalogued in the Händel-Werke-Verzeichnis and are commonly referred to by an HWV number. For example, Messiah is catalogued as HWV 56.LegacyA Masquerade at the King's Theatre, Haymarket (c. 1724)Handel's works were collected and preserved by two men in particular: Sir Samuel Hellier, a country squire whose musical acquisitions form the nucleus of the Shaw-Hellier Collection,[66] and abolitionist Granville Sharp. The catalogue accompanying the National Portrait Gallery exhibition marking the tercentenary of the composer's birth calls them two men of the late eighteenth century "who have left us solid evidence of the means by which they indulged their enthusiasm".[67]After his death, Handel's Italian operas fell into obscurity, except for selections such as the aria from Serse, "Ombra mai fù". The oratorios continued to be performed but not long after Handel's death they were thought to need some modernisation, and Mozart orchestrated a German version of Messiah and other works. Throughout the 19th century and first half of the 20th century, particularly in the Anglophone countries, his reputation rested primarily on his English oratorios, which were customarily performed by enormous choruses of amateur singers on solemn occasions.Since the Early Music Revival many of the forty-two operas he wrote have been performed in opera houses and concert halls.Handel's music was studied by composers such as Haydn, Mozart and BeethovenRecent decades have revived his secular cantatas and what one might call 'secular oratorios' or 'concert operas'. Of the former, Ode for St. Cecilia's Day (1739) (set to texts by John Dryden) and Ode for the Birthday of Queen Anne (1713) are noteworthy. For his secular oratorios, Handel turned to classical mythology for subjects, producing such works as Acis and Galatea (1719), Hercules (1745) and Semele (1744). These works have a close kinship with the sacred oratorios, particularly in the vocal writing for the English-language texts. They also share the lyrical and dramatic qualities of Handel's Italian operas. As such, they are sometimes performed onstage by small chamber ensembles. With the rediscovery of his theatrical works, Handel, in addition to his renown as instrumentalist, orchestral writer, and melodist, is now perceived as being one of opera's great musical dramatists.A carved marble statue of Handel, created for the Vauxhall Gardens in 1738 by Louis-François Roubiliac, and now preserved in the Victoria & Albert Museum.Handel's work was edited by Samuel Arnold (40 vols., London, 1787–1797), and by Friedrich Chrysander, for the German Händel-Gesellschaft (105 vols., Leipzig, 1858–1902).Handel adopted the spelling "George Frideric Handel" on his naturalisation as a British subject, and this spelling is generally used in English-speaking countries. The original form of his name, Georg Friedrich Händel, is generally used in Germany and elsewhere, but he is known as "Haendel" in France. Another composer with a similar name, Handl or Händl, was an Austrian from Carniola and is more commonly known as Jacobus Gallus.Musician's musicianHandel has generally been accorded high esteem by fellow composers, both in his own time and since.[68] Bach attempted, unsuccessfully, to meet with Handel while he was visiting Halle.[69] Mozart is reputed to have said of him, "Handel understands affect better than any of us. When he chooses, he strikes like a thunder bolt."[70] To Beethoven he was "the master of us all... the greatest composer that ever lived. I would uncover my head and kneel before his tomb".[70] Beethoven emphasised above all the simplicity and popular appeal of Handel's music when he said, "Go to him to learn how to achieve great effects, by such simple means".HomagesHandel Commemoration in Westminster Abbey, 1784After Handel's death, many composers wrote works based on or inspired by his music. The first movement from Louis Spohr's Symphony No. 6, Op. 116, "The Age of Bach and Handel", resembles two melodies from Handel's Messiah. In 1797 Ludwig van Beethoven published the 12 Variations in G major on ‘See the conqu’ring hero comes’ from Judas Maccabaeus by Handel, for cello and piano. Guitar virtuoso Mauro Giuliani composed his Variations on a Theme by Handel, Op. 107 for guitar, based on Handel's Suite No. 5 in E major, HWV 430, for harpsichord. In 1861, using a theme from the second of Handel's harpsichord suites, Johannes Brahms wrote the Variations and Fugue on a Theme by Handel, Op. 24, one of his most successful works (praised by Richard Wagner). Several works by the French composer Félix-Alexandre Guilmant use Handel's themes, for example his March on a Theme by Handel uses a theme from Messiah. French composer and flautist Philippe Gaubert wrote his Petite marche for flute and piano based on the fourth movement of Handel's Trio Sonata, Op. 5, No. 2, HWV 397. Argentine composer Luis Gianneo composed his Variations on a Theme by Handel for piano. In 1911, Australian-born composer and pianist Percy Grainger based one of his most famous works on the final movement of Handel's Suite No. 5 in E major (just like Giuliani). He first wrote some variations on the theme, which he titled Variations on Handel's ‘The Harmonious Blacksmith’ . Then he used the first sixteen bars of his set of variations to create Handel in the Strand, one of his most beloved pieces, of which he made several versions (for example, the piano solo version from 1930). Arnold Schoenberg's Concerto for String Quartet and Orchestra in B flat major (1933) was composed after Handel's Concerto Grosso, Op. 6/7.VenerationHandel is honored together with Johann Sebastian Bach and Henry Purcell with a feast day on the liturgical calendar of the Episcopal Church (USA) on 28 July.He is commemorated as a musician in the Calendar of Saints of the Lutheran Church on 28 July, with Johann Sebastian Bach and Heinrich Schütz.He is commemorated as a musician along with Johann Sebastian Bach on 28 July by The Order of Saint Luke in their calendar of saints prepared for the use of The United Methodist Church.EditionsBetween 1787 and 1797 Samuel Arnold compiled a 180-volume collection of Handel's works—however it was far from complete.[72] Also incomplete was the collection produced between 1843 and 1858 by the English Handel Society (found by Sir George Macfarren).[73]The 105-volume Händel-Gesellschaft edition was published in the mid 19th century and was mainly edited by Friedrich Chrysander (often working alone in his home). For modern performance, the realisation of the basso continuo reflects 19th century practice. Vocal scores drawn from the edition were published by Novello in London, but some scores, such as the vocal score to Samson are incomplete.The still-incomplete Hallische Händel-Ausgabe started to appear in 1956 (named for Halle in Saxony-Anhalt Eastern Germany, not the Netherlands). It did not start as a critical edition, but after heavy criticism of the first volumes, which were performing editions without a critical apparatus (for example, the opera Serse was published with the title character recast as a tenor reflecting pre-war German practice), it repositioned itself as a critical edition. Influenced in part by cold-war realities, editorial work was inconsistent: misprints are found in abundance and editors failed to consult important sources. In 1985 a committee was formed to establish better standards for the edition.From Wikipedia, the free encyclopedia
Donald Burrows outlines the risks Handel faced when developing his own style of biblical concert drama.
Transcript -- Donald Burrows outlines the risks Handel faced when developing his own style of biblical concert drama.
Donald Burrows introduces an authentic recording, performed by Harry Christopher and The Sixteen.
Transcript -- Donald Burrows introduces an authentic recording, performed by Harry Christopher and The Sixteen.
Donald Burrows outlines the risks Handel faced when developing his own style of biblical concert drama.
Transcript -- Donald Burrows outlines the risks Handel faced when developing his own style of biblical concert drama.
Transcript -- Donald Burrows introduces an authentic recording, performed by Harry Christopher and The Sixteen.
Donald Burrows introduces an authentic recording, performed by Harry Christopher and The Sixteen.
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