Podcasts about Cavalleria rusticana

Você já se emocionou com uma cena de filme sem saber exatamente por quê? Muitas vezes, a resposta está na trilha sonora. E, em alguns casos, essa trilha veio direto do universo da música clássica!No episódio de hoje, exploramos como grandes obras do repertório clássico foram escolhidas para dar mais profundidade, emoção e intensidade a momentos icônicos do cinema.

A cura di Paolo PellegriniPietro Mascagni,Cavalleria RusticanaSantuzza, Elena NicolaiTuriddu, Mario del MonacoMamma Lucia, Anna Maria AnelliAlfio, Aldo ProttiLola, Laura DidierCoro e Orchestra Sinfonica di MilanoFranco Ghione, direttore

Nesta edição do "Clássicos CBN", com o comentarista Maestro Helder Trefzger, vamos conhecer diferentes obras inspiradas na Páscoa. De Bach e Handel chegando até mesmo a Rimsky-Korsakov e Mascagni. Falaremos das obras “Paixão Segundo São João”, “O Messias”, a ópera “Cavalleria Rusticana” e “A Grande Páscoa Russa”. Ouça a conversa completa!

VIVA! Opera is a music content broadcast on the 4th and 5th Thursday each month. In the 74th episode, Ms Ohtake picks 'Inneggiamo, Il signor non è morto (Easter Hymn)' from Cavalleria Rusticana composed by P. Mascagni. - 来月のイースターにちなんだ選曲。人間の醜い部分や現実の厳しさを描く表現が特徴的なヴェリズモ・オペラの代表作より、イースターの礼拝が教会で行われている場面での一曲を取り上げます。

Cultura em Pauta #921 20/03/2025

durée : 00:17:55 - Disques de légende du mardi 10 décembre 2024 - En août 1953 dans la Cathédrale di Sant'Eufemia de Milan, Tullio Serafin enregistrait " Cavalleria Rusticana " de Mascagni avec Maria Callas dans le rôle de Santuzza et le Choeur et l'Orchestre de la Scala. La prestation magnifique de Callas et le lyrisme emporté de l'orchestre en font une référence

durée : 00:17:55 - Disques de légende du mardi 10 décembre 2024 - En août 1953 dans la Cathédrale di Sant'Eufemia de Milan, Tullio Serafin enregistrait " Cavalleria Rusticana " de Mascagni avec Maria Callas dans le rôle de Santuzza et le Choeur et l'Orchestre de la Scala. La prestation magnifique de Callas et le lyrisme emporté de l'orchestre en font une référence

Thelma Schoonmaker has, for over five decades, been Martin Scorsese's cutting room collaborator. Having edited his first feature film in 1967, she has worked on every Scorsese movie since Raging Bull, including Goodfellas, Casino, The Departed, Wolf Of Wall Street, right up to his most recent features The Irishman and Killers Of The Flower Moon. As the widow of the legendary British filmmaker Michael Powell, she has also played a key role in the restoration of classic Powell and Pressburger films including The Red Shoes, Black Narcissus and A Matter Of Life And Death. Thelma Schoonmaker has won three Academy Awards, more than any other film editor. Thelma tells John Wilson how enrolling on a six week film making course as a young graduate in New York led to her meeting and helping Martin Scorsese edit a short film he was making. He then asked her to edit his 1967 feature film debut, Who's That Knocking at My Door and their partnership began in earnest. She recalls how she and Scorsese were part of the editing team on Michael Wadleigh's music festival documentary, Woodstock for which she received her first an Oscar nomination for Best Film Editing - the first documentary ever to be nominated in that category. Thelma reveals the process of working with Scorsese in the cutting room and how, through him, she met her late husband Michael Powell, whose films with Emeric Pressburger, both she and Scorsese had so admired from childhood.Producer: Edwina PitmanArchive and music used: The Red Shoes, Powell & Pressburger, 1948 Who's That Knocking at My Door, Martin Scorsese, 1967 I Can't Explain, The Who, Live at Woodstock, 1969 See Me. Feel Me, The Who, Live at Woodstock, 1969 Star Spangled Banner, Jimi Hendrix, Live at Woodstock, 1969 Raging Bull, Martin Scorsese, 1980 Cutting Edge: The Magic of Movie-editing, BBC4, 30 August 2005 Passion: Music for The Last Temptation of Christ, Peter Gabriel Sunshine of Your Love, Cream Intermezzo from Cavalleria Rusticana, Pietro Mascagni Love Is Strange, Mickey & Sylvia Layla, Derek & The Dominos A Matter of Life and Death, Powell & Pressburger, 1946 Michael and Martin, BBC Radio 4, 30 June 2005

Das Badische Staatstheater Karlsruhe zeigt mit Pietro Mascagnis „Cavalleria rusticana“ und Ruggero Leoncavallos „Pagliacci“ ein „unverwüstliches Doppelpaket der Operngeschichte“. Die beiden italienischen Opern gelten als Gründungsakt der veristischen Oper Ende des 19. Jahrhunderts.

Santuzza: Mignon Dunn Lola: Isola Jones Mamma Lucia: Geraldine Decker Turiddu: Ermanno Mauro Alfio: Cornell MacNeil Conductor: David Stivender Met Tour to the Kennedy Center 25 April 1981 In-house

Santuzza: Rita Hunter Lola: Mildred Miller Mamma Lucia: Carlotta Ordassy Turiddu: Harry Theyard Alfio: Morley Meredith Conductor: John Nelson 27 November 1974 Metropolitan Opera In-house

Santuzza: Régine Crespin Lola: Judith Forst Mamma Lucia: Batyah Godfrey Ben-David Turiddu: Enrico Di Giuseppe Alfio: Matteo Manuguerra Conductor: Carlo Felice Cillario 9 June 1973 Metropolitan Opera In-house

Santuzza: Fiorenza Cossotto Lola: Nedda Casei Mamma Lucia: Jean Kraft Turiddu: Carlo Bergonzi Alfio: Anselmo Colzani Conductor: Christopher Keene 24 September 1971 Metropolitan Opera In-house

Santuzza: Giulietta Simionato Lola: Rosalind EliasMamma Lucia: Thelma VotipkaTuriddu: Jussi Björling Alfio: Walter Cassel Conductor: Nino Verchi 16 November 1959 Metropolitan Opera In-house

La saison actuelle, tout comme celles à venir, sera caractérisée par des jalons importants pour la mezzo tuniso-canadienne Rihab Chaieb, ce qui comprend notamment son rôle-titre dans Carmen au Festival de Glyndebourne, son rôle de Claire dans Melancholia avec le Kungliga Operan, son rôle de Dorabella dans Così fan tutte tutte à la Seiji Ozawa Music Academy, en plus de ses apparitions auprès du Los Angeles Philharmonic, de la Compagnie nationale d'opéra du Canada et de l'Orchestre symphonique de Québec, ainsi que son retour au Metropolitan Opera et à la Bayerische Staatsoper.Rihab Chaieb a fait ses débuts à la Bayerische Staatsoper lors de la saison de 2022-2023, où elle a ébloui l'audience dans son rôle de Fenena dans Nabucco, sous la direction de Daniele Rustioni, puis au Los Angeles Opera dans le rôle de Cherubino dans Le nozze di Figaro de James Gray, sous la direction de James Conlon. Elle a ensuite repris son interprétation exceptionnelle de Carmen à la Compagnie nationale d'opéra du Canada et au Calgary Opera, avant de retourner au Grand Théâtre de Genève où elle a été mise en vedette dans son rôle de La mère Meryem lors la première mondiale du Voyage vers l'espoir de Jost.Sur les scènes de concert, elle est apparue aux côtés du Philharmonia Baroque Orchestra dans une prestation de Messiah de Handel, elle a également partagé la scène du Vancouver Symphony Orchestra pour présenter Les nuits d'été de Berlioz sous la direction d'Otto Tausk, puis elle a fait son premier spectacle auprès du Manitoba Chamber Orchestra dans le rôle de Ruggiero dans Alcina de Handel.Rihab Chaieb a marqué la saison 2021-2022 en faisant son entrée au Washington National Opera dans le rôle de Dorabella dans Così fan tutte, puis au Palm Beach Opera dans le rôle titre de Carmen. Elle a joué pour la première fois le rôle de Penelope dans Il ritorno d'Ulisse in patria en tournée et pour un enregistrement avec l'Ensemble I Gemelli, avant de retourner à l'Opéra National de Montpellier pour jouer Maddalena dans Rigoletto, puis au Metropolitan Opera pour incarner Nefertiti dans la production d'Akhnaten de Philip Glass mis en scène par Phelim McDermott et sous la direction Karen Kamensek.Elle a récemment connu de nombreux succès, notamment en faisant ses débuts au Houston Grand Opera lors de la première mondiale de The Phoenix de Tarik O'Regan, puis au Cincinnati Opera dans le rôle de Rosina dans Il barbiere di Siviglia, ainsi qu'à l'Opéra de Montpellier dans Fantasio d'Offenbach, au Teatro Santiago de Chile en incarnant Dorabella, à l'Opera Ballet Vlaanderen Kasturbai dans Satyagraha de Philip Glass, et enfin à l'Oper Köln dans le rôle de Carmen dans une production de Lydia Steier.Elle a joué le rôle de Charlotte dans Werther pour la première fois à l'Opera Vlaanderen sous la direction de Giedrė Šlekytė et elle a ouvert la saison au Muziektheater dans le rôle de Lola dans Cavalleria Rusticana de Robert Carsen sous la direction de Lorenzo Viotti. Sur les scènes de concert, Rihab Chaieb s'est produite avec l'Orchestre symphonique de Montréal dans un programme de Rossini sous la direction de Kent Nagano, ainsi que dans Lieder eines fahrenden Gesellen de Mahle sous la direction de Johannes Debus. Elle a également interprété Messiah de Handel sous la direction de Gustavo Gimeno avec le Toronto Symphony Orchestra. Elle a aussi chanté Three-Cornered Hat de Manuel de Falla avec le Vancouver Symphony Orchestra et le Bournemouth Symphony Orchestra sous la direction de Carlos Miguel Prieto.Instagram :https://www.instagram.com/laprescriptiondrfred/?hl=frFacebook :https://www.facebook.com/people/La-prescription-avec-Dr-Fred-Lambert/100078674880976/ Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Inside this Episode with host, Mitch Hampton I seem to never tire of saying that among my many missions on this podcast is to have guests that are quite different than myself. Although Christine and I are both musicians and in the music world, I can't carry a tune to save my life and my truly awful singing voice is one of the main reasons I decided to purely instrumental music in terms of my own performance.  Not only does our guest have one of the best singing voices  in her for any field or genre of music but she also speaks five plus languages and is well versed in a remarkably diverse repertoire of music Indeed her newest release is representative of just the kind of eclecticism I always champion. I always love having guests on my show who have been in the "classical music" world as it is a genre most misunderstood at times by the public and always worthy of continuation and celebration. I sincerely hope you enjoy watching this episode as much as we did recording it. Ms. Moore's Bio : ( Full Bio on her website below) Praised by the Leipziger Volkszeitung for her lush sound and powerful expression, soprano Christine Moore Vassallo is a versatile performer with equal command in opera, recital, and contemporary music.  The Sacramento, California native counts among her many opera roles Mimi in La Boheme, the title role Madama Butterfly, Alice Ford in Falstaff, Micaela in Carmen, the title role in Suor Angelica, Santuzza in Cavalleria Rusticana, Donna Anna in Don Giovanni, Countess in Le Nozze di Figaro, Judith in Bluebeard's Castle, Leonora in Il Trovatore (described as "velvety and luscious" by SongWordSight Magazine), the title roles in Aida and Ariadne auf Naxos with such companies as the Leipzig Opera, Central City Opera, Santa Fe Opera, Chautauqua Institute, Utopia Opera, Create Opera, the Aldeburgh Summer Festival, Sacramento Opera, the Amato Opera and Lyric Artists of New York. She curated and performed in the first ever concert of Arab composers, entitled "Nearer to East: Chamber Music from the Arab World" at the Bruno Walter Auditorium at Lincoln Center, which concert was lauded by the Library as one of the outstanding of the year. Christine speaks five languages and sings in ten, and has given numerous solo recitals featuring works of all genres of repertoire and languages, including in Granada and Madrid with Festival de Cancion Espanola, Trinity Concert Series in New York, the Library at Lincoln Center, Merkin Concert Hall, the Edinburgh Fringe Festival, and the Old Stone House, Brooklyn. She made her UK debut in 2005 at the Paxton Chamber Music Festival in Scotland with Schoenberg's Pierrot Lunaire (praised by the Glasgow Herald) and has performed many new works by living composers, including the premiere at Merkin Hall NYC of Richard Thompson's song cycle The Shadow of Dawn as well as the NYC premiere of his opera The Mask in the Mirror, Andrew Rudin's Masha's Arias, and works by Michael Rose, Kareem Roustom, Halim El-Dabh, Richard Cameron-Wolfe, Steve Gerber and Zaid Jabri with the Brooklyn New Music Collective.  In 2016 she founded the singers collective Lyric Artists of New York, producing operas and concerts in the New York area. In 2023 she made her Weill Hall at Carnegie debut, and is currently collaborating on a project with composer and pianist Patricio Molina set to premiere in 2025 of his songs set to Arab women poets of the Andalus period. Album webpage on the Meridian Records website: https://www.meridian-records.co.uk/acatalog/CDE84647-From-Al-Andalus-to-the-Americas.html  Christine's Website: www.christinemooresoprano.com #middleeast #egypt #spain #oud #darbuka #andalus #soprano #classicalmusic #flute ##arabic #folkmusic #latinamerica #meridianrecords #istanbul #farsi #opera #newyorkcity #artsong  --- Support this podcast: https://podcasters.spotify.com/pod/show/mitch-hampton/support

La conductora presenta de una forma fresca y coloquial historias, anécdotas e interpretaciones de las y los mejores cantantes de ópera nacionales e internacionales. Sus roles, preparación,experiencias, personajes, , etc. Conducido por la Soprano Conny Palacios, Cantante de opera y jazz

A cura di Paolo PellegriniPietro Mascagni Cavalleria rusticanaSantuzza, Giulietta SimionatoTuriddu, Franco CorelliAlfio, Gian Giacomo GuelfiLucia, Mariagrazia AllegriLola, Gabriella CarturanCoro e Orchestra del Teatro alla Scala di MilanoGianandrea Gavazzeni, direttoreTeatro alla Scala, 7 dicembre 1963

Lægger ud med den smukke Den Russiske Påske Ouverture af Nikolaj Rimskij-Korsakov, ikke spillet særlig tit, fordi den er lang, men det kan vi godt lide i BRAVO. Så kommer der smukke, melodiske skæringer fra Richard Wagners Parsifal, som foregår i Påsken. Et super hit fra Cavalleria Rusticana, nemlig Santuzza foran kirken i påsken, med Elna Garanca. Og så er der et smukt Lytterønske, som også er påskeagtigt. Vært: Lotte Heise.

Bravo tager dig en tur til Sicilien, med hele to knivdrab, så der bliver drama for alle pengene, når vi skal lytte skæringer fra Cavalleria Rusticana & Bajadser. Der er kig til hele to nye CD´er: Ny ukendt opera, af Louise Bertin, hvorfra vi får en sprudlende ouverture og så er min yndlings kontratenor Franco Fagioli, klar med nye lækre toner af bla. Mozart. Vært: Lotte Heise.

José de Campos é ator, diretor e preparador de atores. Formado pela UnB em Artes Cênicas e em Cinema e Mídias Digitais pelo IESB. Ele possui intensa atuação no Teatro e Audiovisual brasileiro, com textos que norteiam a carreira do ator como: Édipo Rei: o Rei dos Bobos, Aurora da Minha Vida e O Burguês Fidalgo. Flertando também em óperas como Cavalleria Rusticana. E no audiovisual trabalhou como ator em longas-metragens como Faroeste Caboclo, Somos Tão Jovens, A Repartição do Tempo e seriados como “Resnga Hits” do Globoplay e “Santo” da Netflix.  --- Send in a voice message: https://podcasters.spotify.com/pod/show/momentodeexpressao/message

La Voz Humana en la Música - Cavalleria Rusticana by Radiotelevisión de Veracruz

Thomas Hengelbrock ist als Interpret ein Garant dafür, ausgetretene Wege eher zu meiden. Für eine konzertante Aufführung der populären Verismo-Oper „Cavalleria rusticana“ von Pietro Mascagni hat er sich mit der Originalversion beschäftigt. Und siehe da, da gibt es doch ein paar gänzlich neue Hörerlebnisse. Ein Beitrag von Ursula Magnes.

Was im November letzten Jahres bei den Herbstfestspielen Baden-Baden zur Diskussion gestellt wurde, liegt inzwischen auf CD vor: die Urfassung des Einakters "Cavalleria rusticana" von Pietro Mascagni! Den Weg zurück zu den Quellen hat einmal mehr der Dirigent Thomas Hengelbrock eingeschlagen. Mit dabei sind die ihm schon lange anvertrauten Musikerinnen und Musiker, die sich hinter dem Namen Balthasar Neumanns verbergen - Chor und Orchester. Eine Aufnahmeprüfung von Volkmar Fischer.

Pietro Mascagni - Cavalleria rusticana: IntermezzoKiev Virtuosi Symphony OrchestraDmitri Yablonsky, conductorMore info about today's track: Naxos 8.573499Courtesy of Naxos of America, Inc.SubscribeYou can subscribe to this podcast in Apple Podcasts, or by using the Daily Download podcast RSS feed.Purchase this recordingAmazon

Tutto nel Mondo è Burla stasera all' Opera ALBUM Cavalleria Rusticana Opera Verista ?

Saturday Mornings host Glenn van Zutphen and co-host, award-winning author Neil Humphreys talk with Singapore Lyric Opera singers Martin Ng and Jonathan Charles Tay, about their upcoming Opera double bill production of Mascagni's “Cavalleria Rusticana” and Leoncavallo's “Pagliacci” on 23 and 23 November at the Sota Concert Hall and what audiences can expect to see and hear.   See omnystudio.com/listener for privacy information.

Análisis filosófico de "Cavalleria Rusticana". En esta emisión hablamos de esta obra junto al filósofo Germán Rúa, nuestro columnista en "¿Qué hay de nuevo, bufón?", una sección sobre ópera y filosofía.

En esta emisión hablamos de "Cavalleria Rusticana" junto al filósofo Germán Rúa, nuestro columnista en "¿Qué hay de nuevo, bufón?", una sección sobre ópera y filosofía. También, escuchamos un poco de todo, y en el mientras tanto hablamos del cuerpo, el alma, la realidad, la ficción, Lacán, Nietzsche, y una larga enumeración de nombres y temas al azar. Pero nada es al azar, todo tiene (algún) sentido en Sonido Consentido.

Ab dem 23. Juni spukt es in der Veste Oberhaus in Passau wieder: Regisseur Jürgen Pöckel inszeniert Puccinis erste Oper "Le Villi". Kombiniert wird das unbekannte Werk bei den Burgenfestspiele Niederbayern mit Mascagnis populärer "Cavalleria Rusticana".

World-renowned tenor Joseph Calleja releases ‘Ave Maria' – his first-ever sacred album. Released on Decca Classics, just in time for Easter, this album marks the 20th anniversary of the Maltese tenor's exclusive signing to Decca and the making of his debut recording in 2003.Track Listing:1 Mascagni: Ave Maria (After Intermezzo from Cavalleria Rusticana)2 Verdi: Messa da Requiem: Ingemisco3 Massenet: Ave Maria (After Méditation from Thaïs)4 Bizet: Agnus Dei (After Intermezzo from L'Arlésienne, Op. 23, WD 28)5 Bocelli: Ave Maria (Arr. Mercurio for Tenor, Violin and Orchestra)6 Anonymous: Pietà, Signore (Arr. Hazell for Tenor and Orchestra)7 Rossini: Stabat Mater: Cujus animam gementem8 Rossini: Petite messe solennelle, Gloria: Domine Deus9 Bizet: Les pêcheurs de perles, WD 13, Act I: Au fond du temple saint10 Wagner: Rienzi, WWV 49, Act V: Allmächt'ger Vater, blick herab11 Wagner: Wesendonck Lieder, WWV 91: No. 1, Der Engel (Orch. Mottl)12 Silent Night (Arr. Bateman for Tenor and Orchestra)13 Adam: O Holy Night (Arr. Gamley and Hazell for Tenor and Orchestra)14 Liguori: Tu scendi dalle stelle (Arr. Belli for Tenor and Orchestra15 Schubert: Ave Maria, D. 839 (Arr. Gamley and Hazell for Tenor and Orchestra)Help support our show by purchasing this album  at:Downloads (classicalmusicdiscoveries.store) Classical Music Discoveries is sponsored by Uber and Apple Classical. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber#AppleClassical Please consider supporting our show, thank you!Donate (classicalmusicdiscoveries.store) staff@classicalmusicdiscoveries.comThis album is broadcasted with the permission of Crossover Media Music Promotion (Zachary Swanson and Amanda Bloom).

a cura di Paolo PellegriniP. Mascagni – La Cavalleria RusticanaSantuzza, Elena ObraztsovaTuriddu, Plácido DomingoLola, Axelle GallAlfio, Renato Brusonmamma Lucia, Fedora BarbieriCoro e Orchestra del Teatro alla Scala Georges Prêtre, direttore

Ayako Ohtake, a Sydney-based Japanese soprano singer, hosts biweekly music segment called VIVA! Opera for SBS Japanese. - 魔法や華やかな世界ではなく、貧しい人の暮らしや三角関係のもつれなどを描いたオペラ。１幕のみの構成で、上映時間は約70分とオペラとしては短い作品です。

Convidem la cantant de Salou, aprofitant que aquesta setmana actua a la Sala Upload de Barcelona i acaba de publicar nou single, acompanyada per Marcel Bag

Pietro Mascagni hat mit seiner Oper "Cavalleria rusticana"vor über 130 Jahren eine realitätsnahe Stilrichtung begründet - den Verismo. Eine neue, im Februar 2020 entstandene "Cavalleria"-Interpretation kommt aus Chicago. Der Kopf des Unternehmens, Riccardo Muti, ist seit über zehn Jahren Chefdirigent des Chicago Symphony Orchestra.

durée : 00:23:20 - Disques de légende du mercredi 15 juin 2022 - Aujourd'hui dans Disques de légende, nous écoutons les opéras Cavalleria rusticana de Pietro Mascagni et Paillasse de Ruggero Leoncavallo par l'Orchestre du Théâtre de la Scala de Milan dirigé par Herbert von Karajan, avec le ténor Carlo Bergonzi.

Synopsis While many great composers have also been great conductors, this can be the exception rather than the rule. On today's date in 1959, the American composer Ned Rorem tried his hand at conducting the premiere of one of his own compositions, a chamber suite entitled “Eleven Studies for Eleven Players.” Rorem recalled: “I learned that the first requisite to becoming a conductor is an inborn lust for absolute monarchy, and that I, alone among musicians, never got the bug. I was terrified. The first rehearsal was a model of how NOT to inspire confidence. I stood before the eleven players in all my virginal glory, and announced: ‘I've never conducted before, so if I give a wrong cue, do try to come in right anyway.'” Fortunately for Rorem, his eleven musicians were accomplished faculty at Buffalo University, and, despite his inexperience, Rorem certainly knew how his new piece should sound. Rorem's Suite incorporated a few bits recycled from music he had written for a successful Broadway hit—Tennessee Williams' “Suddenly Last Summer”—plus a bit from an unsuccessful play entitled “Motel” that never made it past a Boston tryout. Rorem's own tryout as a conductor convinced him to stick to composing, although he proved to be a fine piano accompanist for singers performing his own songs. As for “Eleven Studies for Eleven Players,” it's gone on to become one of Rorem's most-often performed chamber works. Music Played in Today's Program Ned Rorem (b. 1923) — Eleven Studies for Eleven Players (New York Chamber Ensemble; Stephen Rogers Radcliffe, cond.) Albany 175 On This Day Births 1866 - French composer Erik Alfred-Leslie Satie, in Honfleur; 1901 - German composer Werner Egk, in Auchsesheim, near Donauswörth; His original last name was Mayer, and it is said (although denied by the composer) that the he chose the acronym E-G-K because it stood for "ein grosser Komponist" ("a great composer"); 1923 - American composer Peter Mennin, in Erie, Pa.; Deaths 1935 - French composer Paul Dukas, age 69, in Paris; Premieres 1779 - Gluck: opera "Iphigénie en Tauride" (Iphigenia in Taurus), at the Paris Opéra; 1890 - Mascagni: "Cavalleria Rusticana," in Rome at the Teatro Costanzi; 1904 - Ravel: "Schéhérazade," in Paris, with vocalist Jane Hatto and Alfred Cortot, conducting; 1919 - Ravel: "Alborado del gracioso" (orchestral version), in Paris at Pasdeloup Concert; 1929 - Prokofiev: Symphony No. 3, in Paris, by the Orchestre Symphonique de Paris, with Pierre Monteux conducting; 1933 - Cowell: "Reel," for small orchestra, in New York; 1939 - Prokofiev: cantata "Alexander Nevsky," in Moscow; 1946 - Martin: "Petite Symphonie Concertante," in Zurich, Paul Sacher conducting; 1960 - Ned Rorem: "11 Studies for 11 Players," for chamber ensemble, at the State University of Buffalo (N.Y.), conducted by the composers; 1990 - Rautavaara: "Vincent," in Helsinki at the Finnish National Opera; 2000 - Michael Torke: "Corner in Manhattan," by the Minnesota Orchestra, Eiji Oue conducting; 2001 - Christopher Rouse: Clarinet Concerto, by the Chicago Symphony Orchestra conducted by Christoph Eschenbach, with Larry Combs the soloist; Others 1922 - Music of "The President's Own" reached homes across the nation when the first Marine Band radio program was broadcast; 1969 - Leonard Bernstein's last concert as Music Director of the New York Philharmonic, having conducted 939 concerts with the orchestra (831 as its Music Director); Bernstein conducted 36 world premieres with the orchestra; He continued to appear with the Philharmonic as an occasional guest conductor until his death in 1990; 1978 - Philips Electronics of The Netherlands announces a new digital sound reproduction system from flat, silver "Compact Discs." Links and Resources On Rorem NY Times feature on Rorem at 95

Lockdown may be over, but our store of lockdown tales is not. Music: Creepy — Bensound.com.   Here are some Totally Made Up Tales brought to you by the magic of the internet.   Try placing your hands on my thighs and then rub.   Language makes it easy to understand other people and animals.   Friends don't listen to moaning. Friends tell each other to shut up.   One day, Maisie got out of bed, stretched, and thought, I wonder what I should do today. She arched her back and flicked her tail and stretched her claws. Perhaps she would go and chase birds. That will be a wonderful thing to pass the time, particularly if she could catch that fat blue tit that had been taunting her for days. She jumped up onto the window sill and out, climbing up onto the roof. From her high up vantage point, she looked over the gardens of the neighbourhood that she regarded quite rightly as her own. There, three gardens down, sat a bird. Perched on an old fashioned flat surfaced bird table covered in bacon rinds, pecking away at them with an arrogant swagger in its manner. Maisie extended her claws and licked them carefully, making sure that they were sharp and ready for action. Stealthily putting one paw in front of the other, she crept across the tiles of the roof, with the smoothness of a monorail. First, from her own house to the next door. And then the one beyond that, and finally to the one in whose garden the bird perched. She crouched low against the roof tiles, peering intently down at the bird, still unaware of her presence. And then, letting out a yodelling screech, she leapt for the bird table. Midway through her jump, the bird, alerted by her yodel, turned, looked at her, and took flight. Maisie landed on the bird table, which wobbled precariously. As it wobbled slightly, it fell onto its side and an ungainly heap of cat, bacon rind, and table were left on the lawn. From inside the house, Maisie heard the owner yelling. He was fumbling for the key for the back door and looked like the sort of angry red-faced man that might teach geography. Maisie took off like a shot. And crouched in the branches of a nearby tree where she wouldn't be able to be reached, she licked the bacon fat off her paws and was surprisingly pleased by the taste. Perhaps, she thought, I should hunt bacon next. The end.   Timothy sat down on a rock, at the side of the road. He was weary, having walked from the village all the way out to where he was now. The flat, marshy fields of the fens stretched out in a featureless expanse, as far as the horizon in all directions. He was beginning to worry that the pub that he was heading for, maybe didn't actually exist. It had sounded so attractive when his Airbnb host had recommended it to him as a pleasant Sunday afternoon outing. But now, the wind whistling between the rocks and the heather, he was having second thoughts. As he sat on his stone, a cold feeling started to creep from the rocks into his bones. He thought he should get moving again, but somehow couldn't quite pick up the energy to stand up. It seemed that he was getting heavier by the moment, and that his thoughts were slowing. His heart rate seemed to be slowing too. His pulse, almost impossible to discern. Eventually the sculpture park in Lowestoft became Britain's top tourist attraction for 2020.   Walking home one afternoon, Melissa stopped by a bank by the side of the road to pick some wild flowers. They were a wonderful selection of colours, bright yellow, dark purple, and pale cornflower blue. She wrapped them carefully in a scarf that she had with her, and took them home and arranged them in a vase. The smell of the flowers filled her living room. It was rich and intoxicating, with that edge of the night that comes from wild flowers. Even by the time she was getting ready to go to bed, she could still feel permeated through the house, the magic and feeling of dusk. As she slept, the land of dreams washed itself over the horizon of her consciousness. She saw herself dancing, dancing through fields of flowers, dancing with flowers, just dancing throughout the night. When she woke in the morning, it was not in the comfortable and familiar bed that she had gone to sleep in. Although the bed was still there, now it was twined with flowers. Every surface covered with creepers, with blooms, and even the very sheets had turned to patterned flowers. She lay in a bed entirely of flowers. As summer turned to autumn, the bloom of the flowers faded and the leaves of the creepers crinkled and shrivelled and prepared for the winter ahead. Now the house felt more cold than it had ever done. And she started to resist going to bed, staying up later and later, the bed feeling cold and unwelcoming when she slipped into it, finally. At last, on a chill October night, the first frost of the year came and carried her away. When they found her body cold, dark, and alone, creepers were still entwined with her limbs and a small wreath of still vibrant flowers sat upon her brow. The end.   Philip loved the colour purple, and everything that he owned, wherever possible, he would either buy in that colour or subsequently paint or dye to match his preference. He had purple socks, shoes, purple t-shirts and hats, purple house, a purple car, and a purple cat. He preferred purple food, although it wasn't always easy, but beetroots and certain types of broccoli for instance were among his favourites. He liked purple music, and that meant that he listened to a lot of Prince. And, at work sitting at his purple desk, wearing his purple suit, he picked up his purple phone and spoke to other people who did not appreciate purple to the same extent he did. Philip was a purple consultant. If the metaphor isn't clear to you at this point, then there's no hope for you in the modern world. The end.   The river flowed lazily between the sun-kissed fields. It had been a long summer, but Annabel was looking forward to the autumn. She had the kind of fair skin that burned easily, and much as she loved the bright summer days, she had found it taxing to constantly have to be lathering on factor 50, and finding a tree to be in the shade of, and covering up her arms. But now she could see that the harvest was coming in, and that meant that summer was at an end. Not only would she not have to worry about the sun for much longer, but she would soon see some of her friends again, returning from their summers. She walked along the bank of the river, enjoying the soft gurgling sound that it made as it flowed through the rushes and the low hanging bushes and overhanging trees on its banks. She wasn't really taking care of where she was going. She knew the landscape so well, she could find her way home from anywhere. But soon it was beginning to get dark, and then she realized she wasn't sure where she was. She looked up for a familiar marker for some sense of how far she had come, and whether it would make sense to continue or to turn back. There weren't any buildings that she could see nearby. Although the hills looked vaguely familiar in shape, but when she looked down to the river, it was much smaller than it should have been had she been anywhere near home. The light was fading, and the shadows were lengthening and thickening around her, and the now unfamiliar countryside was beginning to take on the sinister aspect of night. Desperately, she looked around, turning towards the setting sun to see if she could see any smoke rising from a settlement. But there was nothing, even the sounds of the motorway, which was less than 10 miles from her home, or of planes overhead, or of machines bringing in the harvest had dropped away. All she could hear was the burbling of the stream. And, as the sun went down, she heard the wolves crying. Ooh: the end.   Fly a kite in the wind. It'll be your freedom. Shopping with your mother leads to strife.   Jennifer pruned her rosebush. It was the first time in the year that she'd been able to get out into the garden, and she was relishing snipping off the bits that displeased her. This bush was her pride and joy, she had been tending it for many years, and it was hardy and produced fat flowers reliably every spring. As she pruned, she hummed to her herself, contentedly. She hummed a selection of popular classics, and she found that this not only soothed her but also seemed to please the rosebush in a way that she wasn't quite able to quantify. By the time her husband called her in for tea, she had pruned away all of the unwanted matter and left with a perfect rose bush fit for the growing season. She went into the house and closed the door behind her and looked out through the window as she sipped the delicious cup of tea that her husband had made for her. I think I'm in with a good chance at this year's show, she said to him. Out in the garden, the rose bush hummed softly to itself the overture from Cavalleria Rusticana. The end.   Dear Maggie, My breasts are not growing as fast as I'd like. What can I do? Yours, Apples   Dear Apples, Have you tried pumping your breasts using a bicycle pump? Alternatively, just get over it. Yours, Maggie   I'm James and I'm here with Andrew. These stories were recorded without advanced planning, and then lightly edited for the discerning listener. Join us next time for more Totally Made Up Tales.   Andrew: I mean there was a whole thing there... Cause there's a whole thing in medieval literature about, oh, her breasts were small and round like apples. They really loved, Medieval Britons really loved apple shaped – James: They really loved describing breasts, I think is what you're saying. I'm sure that there are many instances of, so: monk, this illustration you've done. Why exactly are you so keen on these breasts the size of apples? Do we have to see them? I mean, is it necessary to the story you're illustrating in any way? And also, what's this flying penis doing? Andrew: It's a useful sex aid for church-sanctioned marital intercourse. James: Surely in medieval church-sanctioned intercourse breasts are generally not for sex. I mean, I'm guessing a little, but I can't imagine that there was a Papal Encyclical going: it's okay to motorboat. Andrew: No, but the point is that as a visual cue... James: Breasts mean sex. Andrew: Yes, yes, yes. James: Yes I suppose so. Andrew: Hemispheres is like, oh, fleshy hemispheres. It's like, oh, razzle. That's just how we work. James: Certainly if you were a monk, and didn't see any women, I can imagine you're just going: oh, it's a pair of apples. Andrew: Oh, two eggs have aligned in a bowl. James: I'm just imagining a monk, a monk preparing dinner in the kitchen and he calls over his monk buddy, going, "Hey, look at that!" And he just looks at him... And it's just two eggs. It's like, "Yes, yes, yes Michael it's two eggs. What's your point?"

A cura di Paolo Pellegrinipersonaggi e interpretiSantuzza – Maria CallasTuriddu – Giuseppe di StefanoAlfio – Rolando PaneraiLola – Anna Maria CanaliMamma Lucia – Ebe TicozziCoro e Orchestra del Teatro alla Scala di MilanoTullio Serafin, direttore

The short story "Cavalleria Rusticana" (translation online). Later, a tour of Catania, Giovanni Verga's birthplace.

Pietro Mascagni's Cavalleria Rusticana kicked off the verismo craze in Italian opera in 1890. Ruggero Leoncavallo's Pagliacci followed two years later. We talk about the ripple effects of the verismo movement in this wide-ranging episode, covering everything from Francis Ford Coppola and Martin Scorsese to Anton Chekhov, Konstantin Stanislavski, Stella Adler and Marlon Brando, along with more Marx Brothers, the Ride of the Valkyries and a surprise appearance by Smokey Robinson and the Miracles.

Eleonora Duse foi uma atriz italiana. Nascida numa família ligada ao teatro, interpretou Julieta aos 14 anos, atingindo marcante sucesso aos vinte anos interpretando Thérèse Raquin, de Zola, e também no papel de Santuzza, na Ópera Cavalleria Rusticana de Giovanni Verga.

News of the week. Bacchus in Ariadne as audition piece for Wiesbaden, then Scotland and ending up in Munich .Cavalleria Rusticana at the Eutin Music Festival.

Neste episódio, os músicos de nossa Orquestra, Cássia Renata Lima, flautista, e Marcus Julius Lander, clarinetista, falam sobre a Ópera, um gênero que há mais de 400 anos encanta plateias de todo o mundo. Você ouve trechos de: "Rosa del Ciel", da ópera "Orfeu", de Monteverdi, com Concerto Vocale sob a regência de René Jacobs. "Dança das escravas persas”, da ópera "Khovantchina" de Mussorgsky, com a Orquestra Filarmonia sob a regência de Herbert von Karajan “Abertura” da ópera "Idomeneo", de Mozart, com a Academia de Saint Martin in the Fields sob a regência de Sir Neville Marriner "Recitativo" e "Ária" da ópera "Cinderela", de Rossini, com orquestra e coro do Teatro Regio di Parma sob a regência de Maurizio Barbacini "Marcha triunfal e balé", da ópera "Aida", de Verdi, com orquestra e coro do Teatro La Fenice sob a regência de Riccardo Frizza e a torcida do Urawa Reds “Intermezzo” da ópera "Cavalleria Rusticana" de Mascagni, com a Orquestra da Filadélfia sob a regência de Eugene Ormandy "Noturno" da ópera "Condor", de Carlos Gomes, com a Orquestra do Teatro Amazonas sob a regência de Luiz Fernando Malheiros “Abertura” da ópera "A viúva alegre", de Lehár, com a Orquestra Sinfônica de Nurnberg sob a regência de Hanspeter Gmür. Esta temporada é realizada pelo Instituto Cultural Filarmônica, com o oferecimento da Aliança Energia.

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