Podcasts about Cavaradossi

Unless by some miracle you know him already, the Swedish baritone Hugo Hasslo (1911 – 1994), is almost certainly the greatest baritone you never heard of. I discovered him entirely by accident years ago when Tower Records was going out of business and I, like a jackal picking the carcass of an unfortunate water buffalo, grabbed up scads of opera and vocal CDs that other customers / scavengers had passed over. The second that I heard Hasslo's voice, I knew I had discovered vocal gold. Initially it was the voice that impressed me the most: clarion yet dark-timbred, solid from bass-baritonal low range to an almost Heldentenor-like top (I was later to discover that Hasslo had dabbled in tenor repertoire, going so far as to sing Cavaradossi on stage!) But it was when I discovered a live 1959 recording of Hasslo singing the title role of Rigoletto with his home company, the Royal Swedish Opera, that I encountered his true greatness: here was a Rigoletto that combined the sheer animal power of a Bastianini with the dramatic insight of a Gobbi with an unmatched humanity and compassion for the character. And to think that, with few exceptions, his career, like that of a handful of other Swedish baritones from that era, was based almost entirely in Sweden, and at the Royal Opera, where he sang from 1940 to 1964. Here is a baritone considered by many cognoscenti to be perhaps the finest Swedish baritone that ever lived, a compleat artist, represented however by only a smattering of studio, live, and television recordings, which it is my honor to share with you. Welcome to the Hugo Hasslo Fan Club! Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly support at whatever level you can afford.  

News about accessible opera and ballet with a first for opera audio description at the Royal Opera House in London as there will be recorded audio description available at all of the performances of Tosca in July along with touch tours prior to the performances on Tuesday 16 and Friday 19 July at 6.30pm. RNIB Connect Radio's Toby Davey was joined by Audio Describer Alice Gilmour who worked on the recorded description for Tosca and Paul Adams, Access Project Manager at the Royal Opera House to find out more about Tosca with recorded description. About Tosca:  From Sardou's play to Puccini's opera From the early 1890s Giacomo Puccini had toyed with adapting French playwright Victorien Sardou's gripping melodrama La Tosca into an opera, but only began serious work following the premiere of the critically acclaimed La bohème in 1896. Employing La bohème's gifted librettists Giuseppe Giacosa and Luigi Illica to streamline Sardou's complicated plot, Puccini's Tosca premiered in 1900.    With the city gripped by political unrest, fears of violence plagued the premiere at Rome's Teatro Costanzi. However, Tosca opened without incident, and although unpopular with critics who disliked its violence, it became an immediate success with the public and has remained a favourite ever since.  Puccini portrays the idealism of Tosca and her lover Cavaradossi through radiant, expansive music, including Act I's duet 'Qual occhio al mondo' (What eyes of this world), Cavaradossi's ardent aria 'Recondita armonia' (Hidden harmony) and Tosca's despairing Act II prayer 'Vissi d'arte' (I lived for my art). Scarpia's music, by contrast, is dark and terrifying – from the demonic chords that open the opera to the violence of his Act II exchanges with Tosca. Booking details: To book your tickets and a place on the pre-performance Touch Tours on Tuesday 16 or Friday 19 July at 6.30pm do contact the Royal Opera House box office either by emailing boxoffice@roh.org.uk or calling 020 7304 4000 and don't forget to mention that you would like a headset and device to listen to the recorded audio description for Tosca. Touch tours are only available to ticket holders using the Audio Description service and if applicable, their companion. More about Tosca can be found on the following pages of the Royal Opera House website - https://www.roh.org.uk/tickets-and-events/tosca-by-jonathan-kent-2024-details#accessibility (Image shows RNIB logo. 'RNIB' written in black capital letters over a white background and underlined with a bold pink line, with the words 'See differently' underneath)

Am Pfingstmontag findet an der Bayerischen Staatsoper die Premiere von Giacomo Puccinis "Tosca" statt. In der Titelpartie ist Eleonora Buratto zu hören, den Cavaradossi singt der Tenor Charles Castronovo. Sylvia Schreiber fasst die wichtigsten Details über die neue "Tosca" zusammen und spricht mit den Schaffenden.

For An Englishman Downunder , Fiona Watson interviews Ballarat based Tenor Jason Wasley, a principle performer for the Enduring Classics concert 'A touch of Spring. Held at Ballarat Anglican Catherdal, 2:30pm on Saturday 9 September. Australian tenor Jason Wasley received a scholarship in 1991 to attend the Victorian College of the Arts Opera Studio in Melbourne.  In 1993, Jason won the Herald-Sun Aria, which enabled him to further his studies in Europe.  The following year he represented Australia in the finals of the Placido Domingo World Operalia Competition in Vienna.  Jason then worked as an apprentice soloist with the Victorian State Opera, undertaking the roles of Sciarrone and The Gaoler in Tosca, Juan in Don Quichotte, Tarquinius in The Rape of Lucretia and Robin Oakapple in Ruddigore. After study at Bertrand Russell Institute of Languages in Italy, Jason moved to London where he was accepted into the National Opera Studio. There, he studied and performed in the roles of Figaro in The Barber of Seville, Silvio in Pagliacci, the title role in Billy Budd, Prince Tarquinius in The Rape of Lucretia, Sid in Albert Herring, Count Almaviva in The Marriage of Figaro, the title role in Eugene Onegin, Schaunard in La bohème and Belcore in L'Elisir d'Amore.  He worked for the Glyndebourne Festival and Touring opera companies performing in the chorus and covering the roles of the Second Prisoner in Fidelio, Patrocle in Iphigénie en Aulide, Morales in Carmen, the title roles in Eugene Onegin, Le Nozze di Figaro and Don Giovanni.  Jason has also worked with the Welsh National Opera's education programme, which included performing Don Giovanni and Escamillio from Carmen. He sang the Boatswain in H.M.S. Pinafore for D'Oyly Carte Opera, Figaro in The Barber of Seville for British Youth Opera, Peter in Hansel and Gretel for Clonter Opera and Belcore in L'elisir d'amore for Pegasus Opera Company.  He also sang Kullervo in the British premiere of Aulis Sallinen's Kullervo.  For Melbourne Opera, he has performed Papageno in The Magic Flute and Marullo in Rigoletto. For OzOpera, he sang Marcello in La bohème and Dancairo in Carmen. For Promac Productions he performed the roles of Pooh-Bah in The Mikado, The Pirate King in The Pirates of Penzance and Captain Corcoran in H.M.S. Pinafore.  In 2006, he moved from baritone to tenor and sang the tenor solos in Verdi's Requiem for the Melbourne Chorale, the roles of Don José in Carmen and Cavaradossi in Tosca for Melbourne Opera, the title role in Stravinsky's Oedipus Rex for Victorian Opera and Pinkerton in Madama Butterfly for OzOpera's national tour. Most recently, Jason Wasley has sung Alfredo in Opera Australia's touring production of La traviata, the tenor solos in Beethoven's Symphony No. 9 with Sydney Philharmonia, Florestan in Fidelio, Max in Der Freicschütz and the title role in Rienzi for Melbourne Opera, Verdi's Requiem with Sydney University Chamber Choir and Rodrigo in Otello for State Opera of South Australia. --- Send in a voice message: https://podcasters.spotify.com/pod/show/kevin-harper1/message

durée : 00:16:18 - Disques de légende du mercredi 07 juin 2023 - Roberto Alagna interprète Mario Cavaradossi dans Tosca de Puccini dans le film de Benoît Jacquot

The Two Gay Geeks

Kristján á að baki glæstan alþjóðlegan feril sem óperusöngvari og hefur komið fram í flestum virtustu óperuhúsum heims. Hann hefur t.d. sungið hlutverk Cavaradossi 400 sinnum og söng það hjá Íslensku óperunni árið 2017.

Kristján á að baki glæstan alþjóðlegan feril sem óperusöngvari og hefur komið fram í flestum virtustu óperuhúsum heims. Hann hefur t.d. sungið hlutverk Cavaradossi 400 sinnum og söng það hjá Íslensku óperunni árið 2017.

Just like that, summer break is over and Opera Apéro is back with some fresh drama for your ears. On this episode, I talk to my friend and fellow Sagittarian, Shaurya (he/him) about Giacomo Puccini's famous stunner opera Tosca. This romantic tragedy tells the story of Roman opera singer Floria Tosca, her lover Cavaradossi, and the plot twists that pull them apart on the eve of Napoleon's invasion of Rome. Thats right: we also learn a page or two of Italian history. We discuss everything that makes Tosca a brilliant character, the parallels between opera and Bollywood, and plot twists - why we love them and when we're sick of them. Let me know which plot twists surprised you and which you saw coming. Get in touch on Instagram @opera.apero or on Twitter @OperaApero.  Act 1 - 04:39 Act 2 - 18:20 Act 3 - 28:22 Discussion - 33:19

Adam and Barton chat about the similarities between performing arts and sports performance. Adam is a professional opera singer, having performed principal tenor roles. In this episode, he shares his mindset strategies around showing up before a performance which can also be applied to sports.Surrounded by MusicAdam never imagined himself performing onstage, but his love for music speaks for itself. Having been exposed to operatic and classical music in his childhood years was the spark that later on lit his flame. Adam witnessed performances that blew his mind. Then, in high school, his friend forced him to audition for a jazz choir, and he got in. Adam majored in journalism in college, but his teachers were the ones that pushed him to shift to voice. All these influences mattered to Adam as he needed that extra push to reach his goal. His passion was already on full display, and all he needed to do was to look in the mirror to realize it. Opera and SportsPerforming onstage may look different from playing sports, but Adam says these two are similar. Physical conditioning is the same context for both, only differing on how these are carried out depending on where the training is focused. There are also similarities when it comes to mindset. One example is to be prepared for any mistakes. When unavoidable circumstances affect performance, a singer knows how to adjust and improvise. That is the same as a player changing strategy to increase winning chances. Like sports, singers also do warm-ups. The concept is all the same, and execution is the only thing that distinguishes one from the other.About Adam Flowers:Adam has performed principal tenor roles in opera houses throughout North America, Hawaii, and Japan. In July 2006, he completed a five-year artist-in-residency for Opera San Jose, performing over 32 roles. He has performed with the San Francisco Opera Chorus, San Francisco Symphony Chorus and is currently the tenor section leader at San Francisco's St. Ignatius Church Choir.  He is a teaching artist for Pacific Actors & Singers Workshop, the San Francisco Opera Guild's Book To Bravo, and Opera A La Carte educational programs with students in the 5th-12th grades. Finally, Adam has written feature articles for San Francisco Opera's production programs and the SF Opera Board of Directors quarterly newsletter Behind the Curtain. Outline of the Episode:[01:57] Adam's discovery of singing[09:58] How artistic and technical aspects in a performance matter[13:10] The analogy of an operatic performance to sports performance[18:09] Preparations and mindset before an opening night[20:56] Teachers behind Adam's success in his operatic career[28:38] The moment when Adam had to figure out something mid-performance[33:22] Advice from Adam's friend that changed his mindset around performanceHear Adam Sing:Star Spangled Banner: https://youtu.be/xoaW5ocr_vkChe Gelida Manina: https://youtu.be/8USBQK9Yn4YExcerpts from Cavaradossi: https://youtu.be/2iYK5XtnpisFolk song “Molly Malone”: https://youtu.be/9RckrC9h4oQAdam's Website: https://www.adamflowerstenor.com/Connect w/ Barton!Join our Premium Membership: https://themindsetforge.supercast.techAustin Rowing Club Event on Sept 26th : https://bit.ly/3zRVklo “Go for the Gold” Competition -October 23rd at 9 am - https://bit.ly/3jqp8A7Podcast on IG: https://bit.ly/38jBALA

Seine Paraderolle war der Cavaradossi in Giacomo Puccinis "Tosca", legendär ist seine Aufnahme aus der Mailänder Scala vom August 1953 mit Maria Callas in der Titelpartie. Dabei war Giuseppe di Stefanos Karriere nicht nur eng mit der Callas verbunden, er fühlte sich als gebürtiger Sizilianer auch seelenverwandt mit der stolzen Griechin

It's not easy to talk about death. We associate dying with so much suffering and loss. But for many people, the end of life is full of peaceful remembrance of the moments and relationships that have meant the most. For the leading man in Puccini's Tosca, that's the sweetness and beauty of his beloved.  Caught up in the messy politics of his time, Mario Cavaradossi has been arrested, interrogated, and tortured. And then, he's sentenced to death. “E lucevan le stelle” finds Cavaradossi in his prison cell one hour before his execution. He knows his life is over, and what does he do? He gets lost in a daydream about a passionate night spent with Tosca. Host Rhiannon Giddens and her guests explore the memories and dreams that give us meaning at the end of our lives. Joseph Calleja, A.K.A. The Maltese Tenor, sees a lot of himself in Cavaradossi - they're both men of intensity and passion. He says that if the spectrum of human emotion were a harp, Puccini knew exactly the right string to pluck at just the right moment to convey the emotion the character is feeling. Carolyn Abbate teaches music at Harvard University and writes about opera, including the book A History of Opera. One of the memories that she holds most dear is of an afternoon spent in a meadow with her son when he was young. Dr. Christopher Kerr is the CEO and Chief Medical Officer at Buffalo Hospice and Palliative Care. Chris recently wrote a book called Death is But a Dream: Finding Hope and Meaning at LIfe's End, about the dreams and visions that many people experience at the end of their lives. This work was later turned into a film, which became the basis of a Netflix production and a PBS World documentary.  

«NOTEN & SCHLÜSSEL»  Konzerteinführungen aus Grafenegg, die Ohren öffnenOliver Láng über das Programm des Konzerts in Grafenegg am 30. August. InterpretenWIENER SYMPHONIKERANNA NETREBKO, SopranYUSIF EYVAZOV, TenorSPERANZA SCAPPUCCI, Dirigentin ProgrammGIUSEPPE VERDIOuvertüre zur Oper «Nabucco»«Tu che le vanità conoscesti» Arie der Elisabetta aus der Oper «Don Carlos»«La vita è inferno... O tu che in seno agli angeli» Arie des Alvaro aus der Oper «La forza del destino»ANTONÍN DVOŘÁK«Mesicku na nebi hlubokem» | «Mond, der du am tiefen Himmel stehst» Arie der Rusalka aus der Oper «Rusalka»PIETRO MASCAGNI«Mamma, quel vino è generoso» Arie des Turiddu aus der Oper «Cavalleria rusticana»Intermezzo sinfonico aus der Oper «Cavalleria rusticana»ERNESTO DE CURTISNon ti scordar di me» Neapolitanisches LiedGIACOMO PUCCINI«Vissi d'arte» Arie der Tosca aus der Oper «Tosca»«E lucevan le stelle» Arie des Cavaradossi aus der Oper «Tosca»Intermezzo aus der Oper «Manon Lescaut»«Vogliatemi bene» Duett Cio Cio - Pinkerton aus der Oper «Madama Butterfly» Bedingt durch eine kurzfristige Programmänderung (Austausch zweier Verdi-Arien am Beginn) weicht die Podcast-Einführung geringfügig vom aktuellen Programm ab.  https://www.grafenegg.com/de/podcast

Tosca, featured on "Seattle Opera Mornings on KING FM" on May 30,  is both a great opera for newbies to the art form and a rewarding piece to hear multiple times; it’s accessible—a ‘thriller’ as cinematic as any Hollywood classic—and also stacked with layers of sumptuous artistry to savor. Seattle Opera Dramaturg Jonathan Dean introduces Tosca, with musical examples from Seattle Opera archival recordings of Tosca made in 2001, 2007, and 2015 and featuring Stefano Secco and Frank Porretta, Jr. as Cavaradossi, Greer Grimsley as Scarpia, and Marcy Stonikas, Ausrine Stundyte, Lisa Daltirus, and Carol Vaness as Tosca. The chorus and orchestra of Seattle Opera were conducted by Antonello Allemandi in 2001, Vjekoslav Sutej in 2007, and Julian Kovatchev in 2015.

Tosca is both a great opera for newbies to the art form and a rewarding piece to hear multiple times; it’s accessible—a ‘thriller’ as cinematic as any Hollywood classic—and also stacked with layers of sumptuous artistry to savor. Seattle Opera Dramaturg Jonathan Dean introduces Tosca, with musical examples from Seattle Opera archival recordings of Tosca made in 2001, 2007, and 2015 and featuring Stefano Secco and Frank Porretta, Jr. as Cavaradossi, Greer Grimsley as Scarpia, and Marcy Stonikas, Ausrine Stundyte, Lisa Daltirus, and Carol Vaness as Tosca. The chorus and orchestra of Seattle Opera were conducted by Antonello Allemandi in 2001, Vjekoslav Sutej in 2007, and Julian Kovatchev in 2015.

Episode 29 is a special one. I chatted with my college professor, best friend, and best man from my wedding. We chat about performing, auditioning, running a marathon while drinking beer, and stories from his past that influenced the creation of his music albums. David Bankston’s musical career began in the early 1970s when his folk-rock band, “Manchild,” was signed to Capitol Records. The group toured the United States performing in famous folk clubs of the era, universities, and concert venues on the same bills with Jimmy Buffett, The Nitty Gritty Dirt Band, Steve Martin, The Drifters, ZZ Top, Edgar Winter and White Trash, Steve Goodman, and many others. He later transitioned into theatrical and operatic singing, performing roles with Houston Grand Opera, Opera Theatre of St. Louis, Washington Opera, San Francisco Opera, Casa Mañana, and Lyric Opera of Kansas City. His notable roles include Siegfried in Wagner’s Siegfried, Riccardo in Verdi’s Un Ballo in Maschera, Cavaradossi in Puccini’s Tosca, and Gaylord Ravenal in Showboat with Van Johnson and as James in Shennandoah with Howard Keel. He now records and performs concerts of his original compositions in the genres of Americana, contemporary folk music and jazz. His recordings feature some of the greatest players in popular music: Sonny Landreth, Sam Broussard, Steve Bailey, saxophonist, Stephen Riley, Byron House, Jeff Taylor and Jelly Roll Johnson. His albums Galvez Town and Jazz Blues Gospel Shoes can be streamed on Spotify and YouTube. He was educated in San Francisco Opera’s Merola Program and the Houston Grand Opera Studio. Dr. Bankston holds a DMA in Vocal Performance from the University of South Carolina. He recently retired as Professor Emeritus of Music at Coastal Carolina University. David's students have performed on Broadway, national tours, international and regional opera. Learn more about your ad choices. Visit megaphone.fm/adchoices

Episode 29 is a special one. I chatted with my college professor, best friend, and best man from my wedding. We chat about performing, auditioning, running a marathon while drinking beer, and stories from his past that influenced the creation of his music albums. David Bankston’s musical career began in the early 1970s when his folk-rock band, “Manchild,” was signed to Capitol Records. The group toured the United States performing in famous folk clubs of the era, universities, and concert venues on the same bills with Jimmy Buffett, The Nitty Gritty Dirt Band, Steve Martin, The Drifters, ZZ Top, Edgar Winter and White Trash, Steve Goodman, and many others. He later transitioned into theatrical and operatic singing, performing roles with Houston Grand Opera, Opera Theatre of St. Louis, Washington Opera, San Francisco Opera, Casa Mañana, and Lyric Opera of Kansas City. His notable roles include Siegfried in Wagner’s Siegfried, Riccardo in Verdi’s Un Ballo in Maschera, Cavaradossi in Puccini’s Tosca, and Gaylord Ravenal in Showboat with Van Johnson and as James in Shennandoah with Howard Keel. He now records and performs concerts of his original compositions in the genres of Americana, contemporary folk music and jazz. His recordings feature some of the greatest players in popular music: Sonny Landreth, Sam Broussard, Steve Bailey, saxophonist, Stephen Riley, Byron House, Jeff Taylor and Jelly Roll Johnson. His albums Galvez Town and Jazz Blues Gospel Shoes can be streamed on Spotify and YouTube. He was educated in San Francisco Opera’s Merola Program and the Houston Grand Opera Studio. Dr. Bankston holds a DMA in Vocal Performance from the University of South Carolina. He recently retired as  Professor Emeritus of Music at Coastal Carolina University. David's students have performed on Broadway, national tours, international and regional opera.

Melbourne born soprano Maureen Howard was beloved by audiences and critics alike. At twelve years of age, she was a regular voice on the weekly 3DB Radio programme Swallows Juniorsand she later won the Vocal Section of television’s Swallow’s Parade. Though she studied singing from an early age, she wanted to be a hairdresser and, it was serendipitous that one of her ‘clients’ was associated with the two major theatre entrepreneurs J.C. Williamson and Garnet H. Carroll Management. A simple conversation during a hairdressing appointment gained Maureen a stage audition for J.C.Williamson at Her Majesty’s Theatre in Melbourne . They had just opened their production of My Fair Lady. The following week, the same ‘client’ arranged an audition for Garnet H. Carroll at the Princess Theatre in Melbourne and she was immediately offered a contract for Chorus - and later ‘stand-by’ for Marian the Librarian - in The Music Man. As would occur many times during her early career, Maureen went on in the star’s role. In April of 1961, she was cast in Lock Up Your Daughters with an additional song especially written for her character by the conductor Dobbs Franks. In August that year, she performed in Loesser’s Most Happy Fella with Inia Te Wiata and Ronal Jackson. Later that year, Garnett H. Carroll Management cast her as June Bronhill’s ‘stand-by’ in The Sound of Music and, again, Maureen was frequently seen in the role of Maria. In 1962, Maureen Howard won First Prize in the celebrated Sun Aria and left her contract for The Sound of Music. She was a frequent face and voice on television especially on the popular Sunny Side Up in 1963.After study, a year in Italy and then London – with the noted teacher Vera Rózsa - her operatic career started with Puccini’s Tosca in 1967 – starting her career at the top – with the Elizabethan Trust Opera. The production opened at the Perth Festival on February 11th and featured Reginald Byers and the Hungarian baritone Alexander Major as Cavaradossi and Scarpia along with the twenty-seven years old Maureen Howard. Her operatic debut was a success, with one critic writing “She may not be as imperious as some Toscas, but she certainly is more vocally secure than many … A powerful voice which is always beautifully controlled, and dominated the stage.”The same year, she performed Zerlina in Don Giovanni with a stellar cast featuring Neil Warren-Smith, Marcella Reale, Rosemary Gordon, Robert Gard, Ronald Maconaghie and John Germain. It was a controversial production directed by the young Jim Sharman. A production of Die Fledermaus as Rosalinda (and June Bronhill as the maid, Adele) was a hit with audiences. Next came performances of Venus in Tannhäuser, Tebaldo in Don Carlo, Liù in Turandot, Micaela in Carmen and the cover of Minnie in the Australian premiere of Puccini’s La fanciulla del West. Her career reached a new high with her assumption of Cio Cio San in Madama Butterfly in 1969 with a new production mounted especially for her talents. As a company member, she was also cast as Felice in Wolf-Ferrari’s School for Fathers, Josephine in HMS Pinafore, Elsie Maynard in Yeoman of the Guard along with Giulietta in a concert version of The Tales of Hoffmann.Along with Cio Cio San in Madama Butterfly, the roles of Nedda in Pagliacci and Musetta in La bohème fitted Maureen Howard to a tee. To many audiences, her performances in all three roles have never been surpassed by an Australian born performer. She created Musetta in the famous La bohème production by Tom Lingwood in 1971. “Maureen Howard’s Musetta stole the show … she has the wonderful ability for stance, stage presence and poise of hand which just fix one’s eyes upon her.” During the following season, she performed her first Mimi in the same production. Her debut as Nedda came in 1972 and she was usually cast alongside the Canio of Donald Smith – who also seemed ‘born for the role’. Sparks flew on stage when they ignited each other’s performances. “Maureen Howard was attractively wayward, singing powerfully in the final scene, yet making something tender of the ballatella.”From 1976, Maureen Howard appeared in various operatic and music theatre productions. Man of La Mancha and La belle Hélène were prominent during this time. Other operetta roles ensued – Kathy in The Student Prince, Eurydice in Orpheus in the Underworld, Violet Gray in The Belle of New York, Angèle in The Count of Luxembourg (with Robert Gard as her René), Ottilie Giesecke in White Horse Inn, Marianne in New Moon (with John Larsen as her leading man), Yum Yum in The Mikado and Phyllis in Iolanthe. She returned to Opera Australia for the role of the Foreign Woman in Menotti’s The Consul in 1986 after a decade hiatus from that company.A decade later, she appeared as a guest at the Robert Allman Farewell Gala at the Sydney Opera House singing the Pagliacci duet with her long-time colleague. This led to her being contracted Lady Macbeth in Verdi’s opera and the Witch in Hansel and Gretel. Her stage farewell came in 1998 in Sondheim’s Follies when she performed Heidi Schiller – singing “One More Kiss” to perfection. The career of Maureen Howard was as varied as the roles and styles she played. She was a Star of each medium (radio, television and stage) and was adored by a myriad of fans.

On this episode of Opera for Everyone we listen to the opera Tosca by Giacomo Puccini. Tosca is an opera in three acts with an Italian libretto by Luigi Illica and Giuseppe Giacosa. It premiered in 1900 in Rome, Italy at the Teatro Costanzi. The story is based on the French-language play "La Tosca" by Victorien Sardou. It's a melodrama set in Rome in June 1800, where Napoleon's invasion of Italy threatens the Kingdom of Naples' control of the city. The drama - based on real life events - focuses on an escaped political prisoner named Cesare Angelotti, his friend the famous painter Mario Cavaradossi, and Cavaradossi's lover, the beautiful, devout and talented singer Floria Tosca. Tosca is a passionate, dynamic opera fueled by deception, murder, suicide, and love, and it features some of Puccini's best-known and loved arias.

This Puccini classic returns to the Met stage in a brand new production, starring superstar soprano Sonya Yoncheva in the title role and Vittorio Grigolo as her doomed lover, Cavaradossi. Lecturer Victoria Bond takes a further look into one of the most iconic operas in the repertoire.

Kärleksparet Tosca och Cavaradossi har skrivit in sig operahistorien genom sina arior. Men vilar det en förbannelse över Puccinis omtyckta opera? Lyssna på alla avsnitt i Sveriges Radio Play. Programledaren Britta Svanholm Maniette och operasångaren Rickard Söderberg diskuterar om en opera med tortyr och hot om våldtäkt är något att ha. Och så går de igenom några av de mest kända anekdoterna kring detta älskade verk. Operaguidenoperaguiden@sverigesradio.se

Kärleksparet Tosca och Cavaradossi har skrivit in sig operahistorien genom sina arior. Men vilar det en förbannelse över Puccinis omtyckta opera? Programledaren Britta Svanholm Maniette och operasångaren Rickard Söderberg diskuterar om en opera med tortyr och hot om våldtäkt är något att ha. Och så går de igenom några av de mest kända anekdoterna kring detta älskade verk. Operaguiden operaguiden@sverigesradio.se

Kärleksparet Tosca och Cavaradossi har skrivit in sig operahistorien genom sina arior. Men vilar det en förbannelse över Puccinis omtyckta opera? Programledaren Britta Svanholm Maniette och operasångaren Rickard Söderberg diskuterar om en opera med tortyr och hot om våldtäkt är något att ha. Och så går de igenom några av de mest kända anekdoterna kring detta älskade verk. Operaguiden operaguiden@sverigesradio.se

Welsh tenor Gwyn Hughes Jones has a lot to say about the tenor voice, his lirico-spinto forebears like Gigli and Martinelli, as well as the role of Mario Cavaradossi in Tosca. Enjoy this interview as we look forward to his performances, opening this weekend!

One of the legendary Maria Callas performances. This Tosca from Mexico 1952 is conducted by Guido Picco. Giuseppe Di Stefano is the Cavaradossi and Piero Campolonghi is the Scarpia   (72 min.)

From Madama Butterfly and Turandot to La bohème's Mimi, composer giant Giacomo Puccini is famous for the grace and strength of his glorious heroines. Enter Floria Tosca, a diva with flashing eyes and a jealous heart who loves only one man – Mario Cavaradossi. When he is taken as a political prisoner, his captor, Baron Scarpia, has met his match in Cavaradossi's faithful Tosca. Featuring the breathtaking Te Deum chorus and the renowned tenor anthem E lucevan le stelle, plus one of the most famed soprano arias in all of operatic repertoire, Vissi d'arte, Puccini's beloved work has not been seen at the Opera Company of Philadelphia for over ten years.Hosted by OCP's Director of Community Programs Michael Bolton and mezzo-soprano Maren Montalbano, each edition features musical excerpts, plot synopses and background information on the operas, cast and production information, interviews with artists and producers, Academy of Music historical moments and more!

From Madama Butterfly and Turandot to La bohème’s Mimi, composer giant Giacomo Puccini is famous for the grace and strength of his glorious heroines. Enter Floria Tosca, a diva with flashing eyes and a jealous heart who loves only one man – Mario Cavaradossi. When he is taken as a political prisoner, his captor, Baron Scarpia, has met his match in Cavaradossi’s faithful Tosca. Featuring the breathtaking Te Deum chorus and the renowned tenor anthem E lucevan le stelle, plus one of the most famed soprano arias in all of operatic repertoire, Vissi d’arte, Puccini’s beloved work has not been seen at the Opera Company of Philadelphia for over ten years. Hosted by OCP's Director of Community Programs Michael Bolton and mezzo-soprano Maren Montalbano, each edition features musical excerpts, plot synopses and background information on the operas, cast and production information, interviews with artists and producers, Academy of Music historical moments and more!

    Those of you who have tuned in to my podcasts already know what love and admiration I have for Diana Soviero, whom I consider one of the greatest exponents of the "Verismo" style of singing, a style that reminds us of the era of Claudia Muzio, Mafalda Favero, Virginia Zeani.      I am presenting highlights from the very first Tosca of Mme.Soviero, Montreal 1991, featuring Tony De Paolo as Cavaradossi and Harry Dworchak as Scarpia, conducted by Joseph Rescigno.       I  believe you will concur that Mme.Soviero has been one of our greatest artists, and presently is hailed as one of our finest teachers and coaches. I consider myself most fortunate to have followed Mme.Soviero's career for the past 30 years, and hope you enjoy this superb performance.  ( 70 min.)