Podcasts about cherubino

Nascuda a Saragossa, va comen

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'Aprite, Presto' from Le nozze di Figaro composed by W.A.Mozart is a lively and dynamic duet between Susanna and Cherubino. It's a short but exhilarating piece that draws you into the chaos, letting you share in the urgency and thrill of the moment. Listen to VIVA! Opera, a monthly content by Sydney-based Japanese soprano singer, Ayako Ohtake. - 躍動感や動きに満ちあふれたデュエットで、スザンナとケルビーノの短い２重唱。大慌ての2人と一緒に、ハラハラしながら楽しめる曲です。(2023年9月26日放送)

Salzburg, Wien, Paris, Mailand, New York – die Schweizer Sopranistin Regula Mühlemann singt auf den wichtigsten Opernbühnen und in den renommiertesten Konzertsälen der Welt. Mit ihrer klaren, strahlenden Stimme und ihrer grossen Bühnenpräsenz zieht sie das Publikum in Bann. In Musik für einen Gast bei Eva Oertle erzählt die sympathische Luzernerin, wie sie trotz ihres Erfolgs nie die Bodenhaftung verloren hat, sie spricht über ihre Liebe zur Natur und zu Frankreich und darüber, welche Musik sie am liebsten hört. Die Musiktitel - Dino Brandao, Faber, Sophie Hunger: Derfi di hebe - Camélia Jordana: Ce qui nous lie. Bande originale du film - Samuel Hasselhorn, Ammiel Bushakevitz: «Wohin?» aus Die schöne Müllerin von Franz Schubert - Jessye Norman: «3. Beim Schlafengehen» aus den Vier letzten Lieder von Richard Strauss - Gewandhausorchester Leipzig, Kurt Masur, Leitung Die vorgespielten Titel: - Maria Stader – Non so più cosa son, cosa faccio. (Cherubino), I aus Figaros Hochzeit von W.A. Mozart - Leonard Cohen: Bird on the wire - Philippe Jaroussky: Ombra mai fu von G. F. Händel Erstsendung: 03.03.2024

RNIB Connect Radio's Toby Davey is joined again by Vidar Hjardeng MBE, Inclusion and Diversity Consultant for ITV News across England, Wales, Northern Ireland and the Channel Islands for the next of his regular audio described theatre reviews for 2025. This week Vidar was reviewing Welsh national Opera's production of Mozart's ‘The Marriage of Figaro' at the Wales Millennium Centre in Cardiff with description by Professional Audio Describers Julia Grundy and Jonathan Nash. About ‘The Marriage of Figaro' Love, laughter, and tangled affairs It's supposed to be the happiest day of Figaro and Susanna's lives but will their wedding even go ahead? Count Almaviva is determined to seduce Susanna, but will his wife find out? Will Figaro be able to outwit his master, for the honour of his bride? And where does young Cherubino fit into it all?  In this captivating tale of love, loyalty and mistaken identities, the quick-witted barber navigates the twists and turns of 18th century social intricacies with charm and humour, and clever schemes which will keep you guessing until the final note.   Welsh national Opera's production of Mozart's ‘The Marriage of Figaro' continues on tour until 6 June and for more details about venues, dates and times of performances do visit - https://wno.org.uk/whats-on/figaro (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)

Rubrique:nouvelles Auteur: alexandre-dumas Lecture: Daniel LuttringerDurée: 32min Fichier: 22 Mo Résumé du livre audio: « Des paysans de Tarsia les avaient recueillis, et on les appelait généralement les enfants de la madone, comme on appelle les enfants trouvés ; quant à leurs noms de baptême, c'étaient Cherubino et Celestini." Cet enregistrement est mis à disposition sous un contrat Creative Commons.

Larry Cherubino is one of the busiest people in the industry and there is plenty of new news to chat to Simon Nash about. @thewineshowaustralia @cherubinowines

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.

Dr John Gladstones, the pioneering force behind the Margaret River Wine Region passed away on Saturday night, aged 92. John was the first to identify the region's potential which basically placed Margaret River on the map - Larry worked with John when he was Chief Winemaker at Houghton, and joined Julie-anne Sprague on Afternoons to reflect on his life and career.See omnystudio.com/listener for privacy information.

Celebramos por todo lo alto los primeros 60 años de esta Asociación e iniciamos un pequeño repaso a su historia. Evocamos sus primeros pasos en 1964, lo que nos da la ocasión de escuchar a famosos cantantes participantes en aquellas heroicas jornadas interpretando fragmentos de las óperas en las que fueron protagonistas. Desfilan ante nosotros Alfredo Kraus, Werther de excepción, Magda Olivero, protagonista de la Tosca que abrió aquella temporada inicial, que canta, primero, Vissi d’arte y después Io son l’umille ancella de Adriana Lecouvreur de Cilea, Flaviano Labò, el Cavaradosi de aquellas funciones, que aquí se luce en Non piangere, Liù de Turandot de Puccini, Gian Giacomo Guelfi, que se ensimisma en Dio di Giuda de Nabucco de Verdi, de nuevo Kraus, ahora con la colaboración de Nicolai Ghiaurov, en el dúo de Fausto y Mefistófeles de Fausto de Gounod, Teresa Berganza, Cherubino de excepción en Non so più cosa son cosa faccio y, por fin, Pilar Lorengar en Dove sono de Las bodas de Fígaro, ópera en la que coincidieron las dos cantantes españolas.Escuchar audio

Salzburg, Wien, Paris, Mailand, New York – die Schweizer Sopranistin Regula Mühlemann singt auf den wichtigsten Opernbühnen und in den renommiertesten Konzertsälen der Welt. Mit ihrer klaren, strahlenden Stimme und ihrer grossen Bühnenpräsenz zieht sie das Publikum in Bann. In Musik für einen Gast bei Eva Oertle erzählt die sympathische Luzernerin, wie sie trotz ihres Erfolgs nie die Bodenhaftung verloren hat, sie spricht über ihre Liebe zur Natur und zu Frankreich und darüber, welche Musik sie am liebsten hört. Die Musiktitel - Dino Brandao, Faber, Sophie Hunger: Derfi di hebe - Camélia Jordana: Ce qui nous lie. Bande originale du film - Samuel Hasselhorn, Ammiel Bushakevitz: «Wohin?» aus Die schöne Müllerin von Franz Schubert - Jessye Norman: «3. Beim Schlafengehen» aus den Vier letzten Lieder von Richard Strauss - Gewandhausorchester Leipzig, Kurt Masur, Leitung Die vorgespielten Titel: - Maria Stader – Non so più cosa son, cosa faccio. (Cherubino), I aus Figaros Hochzeit von W.A. Mozart - Leonard Cohen: Bird on the wire - Philippe Jaroussky: Ombra mai fu von G. F. Händel

Susanna und Figaro wollen heiraten. Graf Almaviva will Sex mit Susanna und beruft sich auf ein „Recht“ der ersten (Hochzeits-)Nacht. Die Gräfin trauert vergangenem Glück nach. Der junge, ziemlich genderfluide Cherubino hat Lust auf alles, und alles drängt sich zusammen an diesem „tollen Tag“. In der ersten ihrer drei epochalen Opernkollaborationen zeigen Wolfgang Amadeus Mozart und Lorenzo Da Ponte, was Menschen mit Menschen machen, ein lustvoll aberwitziges Spiel aus Intrigen und Gegenintrigen und Gegen-Gegenintrigen. Regisseur Evgeny Titov interessiert sich vor allem für die Machtfrage: „Wie weit geht einer, wenn man ihn nicht stoppt?“ Der neue Figaro der Bayerischen Staatsoper ist eine Bühne für ein junges prominentes Mozartensemble um den italienischen Dirigenten und Alte-Musik-Spezialisten Stefano Montanari. Autor und Sprecher: Holger Noltze Sprecher:innen: Cathrin Störmer, Stefano Montanari, Evgeny Titov, Louise Alder, Konstantin Krimmel, Elsa Dreisig Schnitt: Sven Eckhoff Betreuung: Nicolas Léwy Dramaturgie und Projektleitung: Christopher Warmuth

Described by The New York Times as “one of America's finest artists and singers,” Frederica von Stade continues to be extolled as one of the music world's most beloved figures. She has enriched the world of classical music for three decades.  Her career has taken her to the stages of the world's great opera houses and concert halls. She began at the top, when she received a contract from Rudolf Bing during the Metropolitan Opera auditions, and since her debut in 1970 she has sung nearly all of her great roles with the Met.  We talked about her signature role, Mozart's Cherubino, her love of Broadway, her respect for Placido Domingo and their Merry Widow performances, and her recent recording, with Thomas Hampson, Richard Danielpour's Elegies, a tribute to her father whom she never met.

Gerne hätte ich berichtet, dass alles halb so wild ist; noch in der Pause war ich dieser Überzeugung. Burgtheaterdirektor Martin Kušej hat doch schon interessante Inszenierungen geliefert. Doch am Ende muss ich sagen, die vernichtenden Medienstimmen sind berechtigt. Die Verlegung ins Mafiamilieu ist in keiner einzigen Situation überzeugend. Das Herumfuchteln mit den Pistolen erregt kaum jemanden, schon gar nicht Susanne und Figaro oder das Publikum. Negativer Höhepunkt ist das Finale des 2.Aktes, wo alle alle mit gezogener Waffe bedrohen und dabei auch noch banales Rampentheater liefern. Dass alle statisch den Dirigenten angeschaut haben, hat nichts zur Präzision beigetragen. Es war ein Chaos. Der neue Mozartstil wird diese Mischung hoffentlich nicht werden. Ich bin überzeugt, der akkurate Nikolaus Harnoncourt würde sich dagegen verwehren, von Raphaël Pichon als Vorbild genannt zu werden. Die Abkehr von zwingenden Noten hin zur Möglichkeit eigener Verzierungen wurde kaum wahrgenommen und wenn, dann mit wenig originellen Figuren. Überflüssig war auch das Geklimper vom Hammerklavier während der überlangen Umbaupausen. Auch das ohne den geringsten Bezug zu Mozarts genialer Musik. Der Asiate, der neben mir gesessen ist, hat fast die ganze Zeit durchgeschlafen. Mehr ist zum Dirigat des Herrn Pichon nicht zu sagen. Gegen die Regie und den Dirigenten haben sich nur die beiden Damen zeitweilig durchsetzen können. Zu recht kam nach der Arie der Gräfin Jubel auf. Adriana Gonzáles gestaltete das Seelengemälde einer enttäuschten Ehefrau mit schöner Stimme. Auch Sabine Devieilhe als Susanne konnte mit der Rosenarie noch Festspielniveau erreichen. Andrè Schuen habe ich schon besser gehört, gerade weil der Graf Almaviva sicher nicht zu seinen besten Rollen gehört. Gesangstechnisch ist es sicher eine Herausforderung die große Arie auf einem Bein stehend zu singen. Da wird er von einer Nackerten angezogen. Sehr witzig!!, da kann man sich voll auf die Empörung des Grafen konzentrieren ?! . Krzysztof Baczyk singt den Figaro, von Rollengestaltung keine Rede. Italienisch ist nicht seine Muttersprache. Ansprechend ist noch Lea Desandre als Cherubino. Alle andern Sänger  können sich in dieser Inszenierung nicht entwickeln. Keine Personenregie, aber auch keine kleinen Ideen. Martin Kušej ist diesmal nichts eingefallen. Das sachkundige Publikum differenzierte beim Applaus deutlich und feierte Adriana Gonzàles und Sabine Devieilhe. Auch der Schussapplaus wäre wohl schnell vorbei gewesen, hätte man das Haus für Mozart nicht lange hermetisch abgeriegelt. Wertnote: 5,3

Son muchos los pasajes operísticos en los que un personaje dice adiós. Las razones pueden ser muy distintas: porque inicia un viaje, porque se muere, porque se despide de un amigo o amante… En la ópera abundan los adioses. En este programa y en algún otro vamos a recoger algunos de esos instantes estratégicos. En este programa reunimos algunos adioses muy valiosos: El esperado Adiós a la vida de Tosca, que aquí canta Miguel Fleta; el del Duque de Mantua y Gilda de Rigoletto (un adiós esperanzado), que está en las voces de Alfredo Kraus y Gianna d’Angelo; el de Fígaro a Cherubino cuando este parte, despedido por el Conde, al ejército, que entona Cesare Siepi; el de Violetta a su propia vida rememorando vivencias pasadas, en La traviata, que escuchamos a Maria Callas, y el del Marqués de Posa a don Carlo en Don Carlo, que se torna trágico cuando le pegan un tiro, y que delinea Fischer-Dieskau. Escuchar audio

Carole is a classical trained pop/jazz singer, vocal arranger songwriter, and educator. She is a teaching artist and artist in residence for Young Audiences New York. She teaches Broadway, Pop, Jazz singing as well as Glee Club and Musical Theater. She began singing in church and at the home of Count Basie. At age 16, she opened up for James Brown at Yankee Stadium. She began her career as a classical singer attending Brooklyn Conservatory of Music and Julliard School of Music. Ms. Sylvan's classical performances include the role of Cherubino in The Marriage of Figaro, Adele in Der Fledermaus and Bess in Porgy and Bess at Brooklyn College Opera. During, Carole's junior year in college she went on the road with a Show band for 44 weeks. Carole started writing songs with the Fatback band and performed lead vocals on the bands first hit song Money which became their first gold record. She also won the Ed Sullivan award for outstanding artists. In 2019 she sang on Charlie Karp's final studio album, "Back To You". In 2020 she was a Teaching Artist Honoree. In 2021 Carole released a 10 song album that debuted at #9 on Relix.

LE NOZZE DI FIGARO (selezione)OvertureOrchestra of The Royal Opera House, Antonio Pappano dir._______________________Recitativo “Or bene, ascolta, e taci” (Susanna, Figaro)Recitativo “Bravo, signore padrone!” (Figaro)Cavatina “Se vuol ballare, signor Contino” (Figaro)Hermann Prey (Figaro), Mirella Freni (Susanna), Wiener Philharmonic Orchestra, Karl Bohm dir.________________________Recitativo “Susannetta, sei tu?” (Cherubino, Susanna)Aria “Non so più cosa son, cosa faccio” (Cherubino)Marina Comparato (Cherubino), Patrizia Ciofi (Susanna) Orchestra del Maggio Musicale, Zubin Metha dir.________________________Recitativo “Ah, son perduto” (Cherubino, Susanna, il Conte, Basilio) Terzetto “Cosa sento. Tosto andante” (Il Conte, Basilio, Susanna)Mirella Freni (Susanna), Maria Ewing (Cherubino), Dietrich Fischer-Dieskau (Il Conte), John van Kesteren (Basilio), Wiener Philharmonic Orchestra, Karl Bohm dir.________________________Aria “Non più andrai, farfallone amoroso” (Figaro)Erwin Schrott (Figaro), Orchestra of The Royal Opera House, Antonio Pappano dir.________________________Aria “Porgi amor qualche ristoro” (Contessa)Nadine Sierra (Contessa), San Francisco Opera Orchestra, Patrick Summers dir.________________________Aria “Voi che sapete” (Cherubino)Teresa Berganza (Cherubino), Orquesta de Aix en Provence, Michael Gielen dir.________________________Sestetto “Riconosci in questo amplesso” (Marcellina, Figaro, Bartolo, Don Curzio, Conte e Susanna)Anne Sofie von Otter, Luca Pisaroni, Maurizio Muraro, Jean-Paul Fouchécourt, Thomas Hampson, Christiane Karg • Jory Vinikour, Chamber Orchestra of Europe, Yannick Nézet-Séguin dir.________________________Aria "Dove sono i bei momenti" (Contessa)Diana Damrau (Contessa), Orchestra del Teatro alla Scala Milano, Franz Welser-Möst dir.________________________Duettino “Sull'aria… Che soave zeffiretto” (Contessa e Susanna)Nadine Sierra (Contessa), Lisette Oropesa (Susanna), San Francisco Orchestra, Patrick Summers dir.________________________Recitativo “Tutto è disposto”Aria “Aprite un po' quegli occhi” (Figaro)Luca Pisaroni (Figaro), Madrid Teatro Real Orchestra, Jesús López Cobos dir.________________________Aria "Deh vieni non tardar" (Susanna)Anna Netrebko (Susanna), Wiener Philharmoniker, Nikolaus Harnoncourt dir.________________________Finale “Gente, gente! All'armi, all'armi!”Christian Gerhaher (Graf Almaviva), Alex Esposito (Figaro), Olga Kulchynska (Susanna), Federica Lombardi (Gräfin Almaviva), Anne Sofie von Otter (Marcellina), Solenn' Lavanant-Linke (Cherubino), BayerischeStaatsoper, Constantinos Carydis dir.

Episode 3: Kontratenorer vs kastratsangereJeg heter Astrid Kirschner, og dette er min podkast Barokkpodden!I dagens episode snakker jeg for første gang med en gjest, nemlig med den australske kontratenor-stjernen DAVID HANSEN. Vi sitter ikke på samme sted, men vi snakker sammen på Zoom – jeg i Oslo og han i Zürich. Han hjelper meg å få klarhet i en del spørsmål, for eksempel: Hvordan klarer han egentlig å synge så høyt at det låter som en kvinne? Og hva er egentlig forskjellen mellom en kontratenor og kastratsanger?David Hansen har bodd i Oslo siden 2007 og har brukt byen som base for sin internasjonale karriere som operasanger i den smale bransjen som kontratenor. Han har gjestet Den Norske Opera & Ballett i Oslo mange ganger, og har ellers sunget på operahus verden over. Han har bemerket seg i roller som Bertarido i Rodelinda ved Teatro Arriaga i Bilbao; Trinculo i The Tempest ved Santa Fe Opera; Orfeo i L'Orfeo ved Staatsoper i Berlin; Cherubino i Mozarts Figaros bryllup ved Teatro Verdi di Sassari; Farnace i Mitridate, re di Ponto ved La Monnaie i Brussel; Athamas i Händels Semele, også ved La Monnaie; Nerone i Monteverdis Poppeas kroning ved Boston Early Music Festival, Teatro Calderón og Victorian Opera; tittelrollen i Julius Cæsar ved Sächsische Staatsoper, Semperoper Dresden, Theater an der Wien og Teatro de la Maestranza de Sevilla.David Hansen er også en svært aktiv konsertsanger og har sunget under dirigenter som Nikolaus Harnoncourt, Sir Simon Rattle, René Jacobs, Marc Minkowski og Fabio Biondi, og med orkestre som Berlinfilharmonien, Les Musiciens du Louvre Grenoble og Concertgebouw, Amsterdam.I 2013 ga han ut platen Arias for Farinelli & Co., med Academia Montis Regalis og Alessandro De Marchi, og i 2018 kom hans innspilling One Charming Night (med Oslo Circles, LAWO) på markedet, begge til strålende internasjonale anmeldelser.Til hver episode av selve podkasten BAROKKPODDEN finnes det også en passende spilleliste med barokkmusikk på Spotify. Der kan du lytte til CD-innspillinger jeg anbefaler, og spillelisten til 3.episode er smekkfull av halsbrekkende italienske koloraturarier og vakre engelske sanger med dagens gjest - kontratenoren David Hansen!Søk den opp og kos deg med musikken!Her er linken til spillelisten:https://open.spotify.com/playlist/4vZq4O9uDFIANYzd21JnGG?si=df1133a7635945b5&pt=a8ce533fa66b3fa7cc7712c18bb40cc7*** Musikkeksemplene brukt i 3.episode Kontratenorer & kastratsangere:Henry Purcell: Come, ye Sons of Art, Away (Strike the viol), David Hansen, Oslo Circles (SIMAX)Henry Purcell: Come all to me, fra Timon of Athens Z 632, David Hansen, Oslo Circles (SIMAX)***Takk til Fond for Lyd og Bilde som støtter prosjektet Barokkpodden!Photo cred: Lars Bryngelsson*** Disclaimer: In my podcast Barokkpodden! I talk about different aspects of baroque music, composers, instruments, historical context and much more, and it is my sincere wish to give my interested listeners and my concert audience a better and deeper understanding of baroque music. Several record companies have given me their permisson to use their recordings of baroque music for this project. Thank you very much! Some of the record companies have limited their permission to max 30 seconds of each music clips, others have allowed me to use music clips in full length. I'm a musician myself, and I certainly do not want to hurt any other musician's rights or copy right. I hope I can increase the love to and knowledge about baroque music with this project, but if you are a musician, and prefer not to be a part of this podcast, please let me know, then I will make the changes accordingly.Best wishes,Astrid Kirschnerasursula@online.no

Larry chats with Simon about the Great Southern region in Western Australia and the range of wine, his work as Winemaking Director at Robert Oatley Wines and his journey in wine. @thewineshowaustralia @cherubinowines

Roberto Succo è conosciuto con molti nickname, tra cui Il Cherubino Nero. In Italia non è molto famoso, ma in Francia ha mietuto una serie di vittime in modo feroce e insensato, senza freni inibitori o empatia verso il prossimo, lascia una scia di sangue che passa dalla Svizzera e torna in Italia in un ultimo, disperato tentativo di fuga verso l'Africa, ma la legge ha il braccio più lungo e lo ferma. Almeno fino a che Roberto Succo non mette in atto il piano di fuga definitivo. --------- Patreon: https://www.patreon.com/crimeandcomedy Youtube: https://youtu.be/K1q-QAE6exg Tutti i Podcast: https://link.chtbl.com/CrimeandComedy Instagram: https://www.instagram.com/crimeandcomedy.podcast/ Telegram: https://t.me/crimeandcomedy Sito: https://www.crimeandcomedy.it Facebook: https://www.facebook.com/crimeandcomedy/ Youtube: https://www.youtube.com/c/CrimeComedy Instagram: Clara Campi: https://www.instagram.com/claracampicomedy/ Marco Champier: https://www.instagram.com/mrchreddy/ Caricature - Giorgio Brambilla: https://www.instagram.com/giorgio_brambilla_bookscomedy/ Capitoli: (00:00:00) | Intro (00:00:37) | Sigla (00:00:51) | Ringraziamenti Patreon (00:08:06) | Roberto Succo, ha avuto un'infanzia tranquilla, fino a 19 anni (00:15:46) | La fuga di Roberto Succo dura poco e lo aspettano anni di manicomio criminale (00:28:36) | Roberto Succo scappa in Francia e sfoga la sua pazzia (00:41:16) | Roberto Succo non è nei radar della polizia perché nessuno lo conosce (00:47:21) | La polizia si mette sulle tracce di Roberto Succo e viene arrestato... (01:13:37) | I nostri Patreon Learn more about your ad choices. Visit megaphone.fm/adchoices

Lamentamos una nueva desaparición, la de la mezzosoprano Teresa Berganza. Como es costumbre analizamos su voz y su arte, comentamos sus opiniones y sus teorías y la escuchamos en tres arias mozartianas: las dos de Cherubino de Las bodas de Fígaro, Smanie implacabili de Dorabella de Così fan tutte Dela grabación en vivo de su debut en Aix-wn-Provence en 1957- y la de Sesto, Parto, parto, de La clemencia de Tito. Nos canta también el fox-trot de Los Gavilanes de Guerrero, El paño moruno de las 7 Canciones populares españolas de Falla –y comparamos su versión con las de Conchita Supervía y Victoria de Los Ángeles-, el rondó de Angelina de La Cenerentola de Rossini y la Habanera de Carmen de Bizet. Escuchar audio

Sarah Fritz is a writer, singer, and public musicologist. Her passionate advocacy on social media seeks to change the dialogue around marginalized musicians and composers in classical music. An expert on the history of Clara Schumann, her popular Twitter account is dedicated to telling truths and debunking myths around the infamous composer/pianist. She's an in-demand speaker and lecturer, most recently at Northeastern University and at the launch of the Cambridge University Press book, Clara Schumann Studies. Her writing on Clara Schumann re-examines with a modern lens one of the most powerful musicians in classical music history. Fritz places Schumann's music and life in relevant context using overlooked research that includes fresh perspectives on Schumann's personal and professional relationships with her husband, Robert, and her close professional friend, Johannes Brahms. Fritz's work has appeared in numerous publications including VAN Magazine, The Schubertian, and American Guild of Organists Magazine. She maintains an in-depth research blog and a monthly newsletter on Clara Schumann with a novel forthcoming. Under her singer hat as mezzo-soprano Sarah Sensenig, she is a member of the voice faculty of the Westminster Conservatory at Rider University. She sings in the Philadelphia Orchestra's Symphonic Choir, this season's highlights including Beethoven's Missa Solemnis at Carnegie Hall and the world premiere of Puts's The Hours. She holds an M.M. from Eastman School of Music and B.M. from Westminster Choir College. Sarah debuted with the New York Lyric Opera Theatre in the title role of Handel's Alcina, and her other operatic roles include Fiordiligi in Mozart's Cosí fan tutte, Valencienne in The Merry Widow, Cherubino in Le Nozze di Figaro, Nancy in Albert Herring, Hansel in Hansel and Gretel, and Dido in Dido and Aeneas. She enjoys giving recitals with her pianist husband, especially in singing the Lieder of her favorite composer, Clara Schumann.  

In this week's episode we have Steve Cherubino from The EDM Producer Podcast and DAW Junkie!We're opening you up to the world of running ads for your musice, but we take yet another deep dive into creating sales funnels for your music.If you're scratching your head trying to figure out how in the world you can sell things to your fans/audience, then you don't want to miss this episode.Learn the fundamentals of ad creation and start developing an ad today to help grow your email marketing audience and how to sell to them.Head to https://enviousaudio.com/episode78 to check out the show notes!

In this episode of Opera Uprising we talk about: * Libretto Creation * The Priestess of Morphine  * Voice type inclusivity * Writing for Trans Voices * Including LGBTQIA+ Stories Find out more about Aiden Feltkamp Anthology of New Music: Trans & Nonbinary Voices, Vol. 1  Website: aidenkimfeltkamp.com Twitter: @TransCherubino  Bio: Aiden K. Feltkamp (they/he) began their artistic life at the age of 5 playing a quarter-size cello and now they're "upending preconceptions about voice and gender" (New York Times) as a trans nonbinary writer.   Aiden's written work spans the serious and the ridiculous, the real and the surreal. Some of their favorite projects include: an opera with Dana Kaufman about Emily Dickinson's queerness, an interactive fiction experience about alien communication coded in Javascript (“Hello, Aria”), new English translations of Jewish lesbian erotic poet Marie-Madeleine's work (The Priestess of Morphine with Rosśa Crean), and a four-part series decoupling gender and voice types. Most recently, their work has been commissioned by Cantus, Amherst College, and the International Museum of Surgical Sciences, and has been published in Crêpe & Penn, Bait/Switch, and NewMusicBox.   Before pursuing their medical transition, Aiden performed opera professionally, specializing in Baroque opera and new music. Their most fulfilling roles include Hansel, Prince Orlofsky, Cherubino, Ottavia in L'incoronazione di Poppea (especially in a Baroque gesture production with director Drew Minter), and Elizabeth in the World and NY premieres of Griffin Candey's Sweets by Kate. They continue to train their new voice and have recently performed as Figaro in ChamberQUEER's abridged Le Nozze di Figaro.   As an equity and inclusion specialist, they consult for performing arts organizations, funders, universities, and businesses. Aiden has worked with Johnson & Johnson, Yelp, the Detroit Symphony Orchestra, OPERA America, the League of American Orchestras, and the LA Phil. Currently, they wrangle composers and arts administrators as the first-ever Director of Emerging Composers and Diversity for the American Composers Orchestra. Aiden is a Turn the Spotlight fellow (20/21 cohort), mentoring with Kathleen Kelly. As part of the fellowship, they curated New Music Shelf's Anthology of New Music: Trans & Nonbinary Voices, Vol. 1. They graduated from Bard College Conservatory's Graduate Vocal Arts Program (under the direction of Dawn Upshaw) with a Masters of Music, and received their B.S. in Vocal Performance from Hofstra University. They hold certifications in Diversity, Equity, and Inclusion (Cornell University) and Data Science (BrainStation). They currently live in Jersey City with their partner, cat, parrots, and robot dog. 

Anja Šinigoj je študentsko Prešernovo nagrado Akademije za glasbo prejela za izjemne umetniške dosežke na solističnih recitalih in opernem odru v akademskem letu 2020/21. Prisluhnite pogovoru z glasbenico, v katerem bo povedala, kako je študij angleščine in nemščine zamenjala za študij petja, kakšno glasbo rada izvaja in kako deluje v svetu zborovske glasbe. Anja Šinigoj je glasbeno pot začela z učenjem klavirja v Glasbeni šoli Nova Gorica, pozneje pa je nadaljevala na Konservatoriju za glasbo in balet Ljubljana, kjer je maturirala v razredu profesorja Sijavuša Gadžijeva. Učenje petja je začela v razredu prof. Tatjane Vasle na Konservatoriju za glasbo in balet Ljubljana, od leta 2016 pa se izobražuje na Akademiji za glasbo v Ljubljani v razredu izr. prof. Barbare Jernejčič Fürst. Prejela je nekaj zlatih plaket na državnih in mednarodnih tekmovanjih (TEMSIG, Mednarodno tekmovanje solo pevcev ''Lazar Jovanovič'' v Beogradu in mednarodno tekmovanje ''Bruna Špiler'' v Herceg Novem, IMMCC Maribor). Leta 2019 je sodelovala v projektu Mini opere, kjer je kot solistka nastopila v Anatomiji misli Mateja Kastelica in v Uspavanki v sobi brez oken Federice Lo Pinto. Leta 2020 je nastopila v operi Julija Aleša Makovca v vlogi Luize Pesjakove, letos pa v vlogi Stare dame v Bernsteinovi opereti Kandid. Lani je v koncertni izvedbi Mozartove Figarove svatbe nastopila tudi kot Cherubino, letos pa v vlogi Berte v Rossinijevem Seviljskem brivcu. Pela je v različnih zborih, zdaj je zaposlena kot pevka v opernem zboru SNG Opera in balet Ljubljana. Bila je tudi članica vokalno-instrumentalne skupine Ridiamo. Kot solistka je nastopila s Simfoničnim orkestrom NOVA filharmonija, s Simfoničnim orkestrom Domžale-Kamnik, Komornim godalnim orkestrom Slovenske filharmonije, Baročnim orkestrom Akademije za glasbo Ljubljana ter Opernim orkestrom SNG Opera in balet Ljubljana in Opernim orkestrom SNG Opera in balet Maribor.

The Figaro saga continues with Mozart's contribution this week. There is talk of bootyholes, long-lost parents, unfaithful spouses and poor stupid Cherubino. There's also a lot of speculation about the next Met season and a tribute to Sir Sidney Poitier.

Salve Killers! A grande richiesta, oggi vi porto un caso tutto italiano! Le azioni di Roberto Succo furono alquanto inquietanti e compiute senza il minimo problema! Cosa combinò? Quali azioni fecero tremare l'Italia e non solo? Scopritelo con l'episodio di oggi! Buon ascolto! ATTENZIONE: L'immagine di copertina appartiene ai legittimi proprietari! Intro music: Spooky Scary Skeletons (Kasger Remix) Music 1: "Morning Dawn" - Vivek Abhishek Music 2: "Murder Under The Bridge" - Vivek Abhishek Seguimi su Instagram: https://www.instagram.com/oscuropalcoscenico/ Mandami una mail: oscuropalcoscenico@gmail.com

For Part I of the interview, please see Previous Post With a shared passion for Music, Text & Story, we talk about the many hurdles young musicians face in getting the support they need to succeed. We talk about the impact of the pandemic and the lessons we've learned along the way. Most importantly we talk about the soul-deep need for community that is the human experience, and how we can use music to connect. New music powerhouse Dr. Lisa Neher (pronouns: she/her, last name pronounced "NEER") is an award-winning composer, mezzo-soprano, and actress on a mission to transform audiences through sound, story, and vulnerability. Described as a “maestro of beautifully wacky noises” (Oregon ArtsWatch) and a composer of “varied and imitable” vocal lines (Contemporary Classical), Lisa writes music inspired by female athleticism, the tender love of friends, the ambiguities of death, and the eerie mystery of deep ocean life. Praised as “a small woman with a very big voice” and “especially alive” (Oregon ArtsWatch), Lisa captivates audiences as a performer with her electrifying dramatic commitment and unforgettable vocal colors. Lisa's musical-theatrical fluency and passion for contemporary music have led to engagements such as Reciter for William Walton's Façade with the Portland Columbia Symphony Orchestra, the world premiere of Space Station 189: A Micro-Opera for Instagram at New Music Gathering, the first staged version of Sun Songs: Three Micro-Operas by Augusta Read Thomas with the Center for New Music, the world premiere of Aaron Israel Levin's Fiumana, for mezzo-soprano singing while playing the bass drum, and the leading role of Jennifer in the world premiere of Rita Ueda's chamber opera One Thousand White Paper Cranes for Japan with the Singaporean ensemble Chamber Sounds. Her recent engagements include performances with Third Angle New Music, the Resonance Ensemble, Opera Theatre Oregon, Queer Opera, and the International Saxophone Symposium. Lisa is an active advocate for new music, frequently premiering new works as well as established masterworks of the last fifty years. She is the creator of the One Voice Project, a one-woman performance combining contemporary poetry and new musical works for unaccompanied voice chosen through a call for scores initiative. ​Lisa is in high demand as a concert soloist. Her credits include Duruflé's Requiem, Mozart's Requiem, Vesperae Solennes de Confessore, and Coronation Mass, Bach's Magnificat and Ascension Oratorio, and Arvo Part's Pässio, with groups such as the Central Iowa Symphony, the Grinnell Oratorio Singers, and the Chamber Singers of Iowa City. Her operatic credits include Dorabella in Così fan tutte with Iowa City Concert Opera, Dolores in The Gondoliers, Mrs. Malaprop in The Rivals, Orlofsky in Die Fledermaus and Annio in La clemenza di Tito with Martha-Ellen Tye Opera Theatre, the Student in the premiere of the chamber opera The Nightingale and the Rose by Li Kai Han Jeremiah with Helianthus Ensemble, and Cherubino in Le nozze di Figaro with the Midwest Institute of Opera. Lisa was a Young Artist with Cedar Rapids Opera Theatre and the Vancouver International Song Institute. Lisa's compositions include solo and chamber music for instruments and vocal works in the operatic, song, and choral genres. Her particular passion for text and poetry has led to works such as her chamber operas Sense of Self, about a triathlete struggling with a breast cancer diagnosis and White Horizon, about a nineteenth-century Arctic expedition gone wrong. Lisa's major song cycle, No One Saves the Earth from Us But Us speaks the the urgency of the global climate crisis. Her commissioners include Third Angle New Music, Third Angle New Music, Opera Elect, Opera Theatre Oregon, Coe College Symphony Orchestra, Kirkwood Community College Choirs, the Glass City Singers, tenor Zach Finkelstein, pianist Michael Kirkendoll, and flutists Rose Bishop and Hal Ide. Lisa was selected to be part of the inaugural year of the Gabriela Lena Frank Creative Academy of Music. Lisa is a member of the Iowa Composer's Forum, Cascadia Composers, the National Association of Teachers of Singing, and ASCAP. In addition to her creative work, Lisa coaches singers on technique, acting, and interpretation, and composers on writing and marketing their music. Recognized in particular for her deep knowledge of the voice and extended techniques, she frequently teaches workshops on composing for singers. Lisa has served on faculty at Lewis & Clark College, Coe College, Kirkwood Community College, and Grinnell College. ​Lisa graduated summa cum laude from Lewis & Clark College with degrees in vocal performance, music composition, and theatre, and holds a master's degree in music composition from the University of Kansas and a Doctor of Musical Arts in voice performance and pedagogy from the University of Iowa. Her doctoral essay explores the chamber vocal works of composer Gabriela Lena Frank. She is a vocal student of Julia Nielsen, Stephen Swanson, Katherine Eberle, Julia Broxholm, and Susan McBerry, and studied composition under the tutelage of Michael Johansen and Forrest Pierce. Born just south of Seattle, Lisa is an outdoor enthusiast and triathlete. She spends her free time distance running, watching science fiction movies, and baking delicious treats involving copious amounts of chocolate.​ DR. LISA NEHER: Facebook Twitter LinkedIn Instagram LATEST NEWS: Announcing Something About Isolation, a series of web releases Nov 8-20 Lisa is selected as one of 10 composers for this season's NATS Mentoring Program for Composers Lisa's opera with Kendra Preston Leonard Par for the Course​ programmed on New Opera West's Pop-Up Festival 2022! Lisa's choral work Three Basho Haiku chosen for Project: Encore Catalog Lisa is the winner of the 2021 Iowa Composer's Forum / Iowa Choral Directors Association Composition Contest for Three Basho Haiku Lisa and Kendra Preston Leonard release new Halloween songs for young singers ​Read Now: BRINGING GRIT AND GUTS TO OPERA, a profile of Lisa in Oregon ArtsWatch Read Now: MUSICAL READINGS ON A BROKEN WORLD, the story behind Red Vespa's commission of Upon a Broken World in Women's Song Forum

With a shared passion for Music, Text & Story, we talk about the many hurdles young musicians face in getting the support they need to succeed. We talk about the impact of the pandemic and the lessons we've learned along the way. Most importantly we talk about the soul-deep need for community that is the human experience, and how we can use music to connect. New music powerhouse Dr. Lisa Neher (pronouns: she/her, last name pronounced "NEER") is an award-winning composer, mezzo-soprano, and actress on a mission to transform audiences through sound, story, and vulnerability. Described as a “maestro of beautifully wacky noises” (Oregon ArtsWatch) and a composer of “varied and imitable” vocal lines (Contemporary Classical), Lisa writes music inspired by female athleticism, the tender love of friends, the ambiguities of death, and the eerie mystery of deep ocean life. Praised as “a small woman with a very big voice” and “especially alive” (Oregon ArtsWatch), Lisa captivates audiences as a performer with her electrifying dramatic commitment and unforgettable vocal colors. Lisa's musical-theatrical fluency and passion for contemporary music have led to engagements such as Reciter for William Walton's Façade with the Portland Columbia Symphony Orchestra, the world premiere of Space Station 189: A Micro-Opera for Instagram at New Music Gathering, the first staged version of Sun Songs: Three Micro-Operas by Augusta Read Thomas with the Center for New Music, the world premiere of Aaron Israel Levin's Fiumana, for mezzo-soprano singing while playing the bass drum, and the leading role of Jennifer in the world premiere of Rita Ueda's chamber opera One Thousand White Paper Cranes for Japan with the Singaporean ensemble Chamber Sounds. Her recent engagements include performances with Third Angle New Music, the Resonance Ensemble, Opera Theatre Oregon, Queer Opera, and the International Saxophone Symposium. Lisa is an active advocate for new music, frequently premiering new works as well as established masterworks of the last fifty years. She is the creator of the One Voice Project, a one-woman performance combining contemporary poetry and new musical works for unaccompanied voice chosen through a call for scores initiative. ​Lisa is in high demand as a concert soloist. Her credits include Duruflé's Requiem, Mozart's Requiem, Vesperae Solennes de Confessore, and Coronation Mass, Bach's Magnificat and Ascension Oratorio, and Arvo Part's Pässio, with groups such as the Central Iowa Symphony, the Grinnell Oratorio Singers, and the Chamber Singers of Iowa City. Her operatic credits include Dorabella in Così fan tutte with Iowa City Concert Opera, Dolores in The Gondoliers, Mrs. Malaprop in The Rivals, Orlofsky in Die Fledermaus and Annio in La clemenza di Tito with Martha-Ellen Tye Opera Theatre, the Student in the premiere of the chamber opera The Nightingale and the Rose by Li Kai Han Jeremiah with Helianthus Ensemble, and Cherubino in Le nozze di Figaro with the Midwest Institute of Opera. Lisa was a Young Artist with Cedar Rapids Opera Theatre and the Vancouver International Song Institute. Lisa's compositions include solo and chamber music for instruments and vocal works in the operatic, song, and choral genres. Her particular passion for text and poetry has led to works such as her chamber operas Sense of Self, about a triathlete struggling with a breast cancer diagnosis and White Horizon, about a nineteenth-century Arctic expedition gone wrong. Lisa's major song cycle, No One Saves the Earth from Us But Us speaks the the urgency of the global climate crisis. Her commissioners include Third Angle New Music, Third Angle New Music, Opera Elect, Opera Theatre Oregon, Coe College Symphony Orchestra, Kirkwood Community College Choirs, the Glass City Singers, tenor Zach Finkelstein, pianist Michael Kirkendoll, and flutists Rose Bishop and Hal Ide. Lisa was selected to be part of the inaugural year of the Gabriela Lena Frank Creative Academy of Music. Lisa is a member of the Iowa Composer's Forum, Cascadia Composers, the National Association of Teachers of Singing, and ASCAP. In addition to her creative work, Lisa coaches singers on technique, acting, and interpretation, and composers on writing and marketing their music. Recognized in particular for her deep knowledge of the voice and extended techniques, she frequently teaches workshops on composing for singers. Lisa has served on faculty at Lewis & Clark College, Coe College, Kirkwood Community College, and Grinnell College. ​Lisa graduated summa cum laude from Lewis & Clark College with degrees in vocal performance, music composition, and theatre, and holds a master's degree in music composition from the University of Kansas and a Doctor of Musical Arts in voice performance and pedagogy from the University of Iowa. Her doctoral essay explores the chamber vocal works of composer Gabriela Lena Frank. She is a vocal student of Julia Nielsen, Stephen Swanson, Katherine Eberle, Julia Broxholm, and Susan McBerry, and studied composition under the tutelage of Michael Johansen and Forrest Pierce. Born just south of Seattle, Lisa is an outdoor enthusiast and triathlete. She spends her free time distance running, watching science fiction movies, and baking delicious treats involving copious amounts of chocolate.​ DR. LISA NEHER: Facebook Twitter LinkedIn Instagram LATEST NEWS: Announcing Something About Isolation, a series of web releases Nov 8-20 Lisa is selected as one of 10 composers for this season's NATS Mentoring Program for Composers Lisa's opera with Kendra Preston Leonard Par for the Course​ programmed on New Opera West's Pop-Up Festival 2022! Lisa's choral work Three Basho Haiku chosen for Project: Encore Catalog Lisa is the winner of the 2021 Iowa Composer's Forum / Iowa Choral Directors Association Composition Contest for Three Basho Haiku Lisa and Kendra Preston Leonard release new Halloween songs for young singers ​Read Now: BRINGING GRIT AND GUTS TO OPERA, a profile of Lisa in Oregon ArtsWatch Read Now: MUSICAL READINGS ON A BROKEN WORLD, the story behind Red Vespa's commission of Upon a Broken World in Women's Song Forum

Nella puntata di oggi analizzeremo il disegno di riforme della giustizia civile che rappresenta uno dei capisaldi del piano nazionale di ripresa e resilienza e quindi uno dei grandi impegni che l'Italia ha assunto con l'Europa ed anche con i propri cittadini. Lo faremo insieme ad un ospite speciale : il Prof Avv Francesco Paolo Luiso chiamato dalla Ministra della giustizia Cartabia a presiedere la Commissione che ha elaborato tale disegno e che pertanto meglio di chiunque altro saprà illustrarci gli aspetti salienti e gli obiettivi di fondo.Il Professor Luiso è Professore ordinario di diritto processuale civile presso l'Università di Pisa, Accademico dei Lincei, insignito dell'Ordine del Cherubino dall'Università di Pisa, è stato altresì direttore della Scuola per le professioni legali presso la Facoltà di Giurisprudenza di Pisa, é socio dell'Associazione italiana fra gli studiosi del processo civile e dell'Associazione internazionale di diritto processuale, nonché socio fondatore dell'Associazione italiana fra gli studiosi del processo amministrativo e dell'Associazione italiana fra gli studiosi dell'ordinamento giudiziario.Fa parte, inoltre, del comitato di redazione di numerose e autorevoli riviste tra cui la «Rivista trimestrale di diritto e procedura civile», è autore di importanti monografie e di circa duecento pubblicazioni scientifiche oltre che del prestigioso manuale, in cinque volumi, di Diritto processuale civile e del manuale Istituzioni di diritto processuale civile.Come tutte le puntate con ospiti, questo episodio sarà disponibile anche in versione video sul nostro canale YouTube.Buona visione e buon ascolto!!

DescriptionEver heard of the “pants role” aka “trouser roles” or “breeches parts” in opera? Well, this goes back centuries, with quite the backstory. Join me, as we take a minute to get the scoop!Fun FactWhy did Baroque audiences buy into women playing masculine heroic parts in opera? The most conceivable theory is that Baroque opera was not concerned with realism. Further, these parts were designed to showcase vocal virtuosity, as opposed to lending credence to the plot or character. 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)

Alicia Cherubino is here to discuss "Generation Rx" from 'Generation Rx', Good Charlotte's 7th album (2018). She tells me about her love of true crime podcasts (and why so many emo kids love them) and how GC helped shape who she is today; we also discuss and rank the band's various intro tracks. Like what you hear? Subscribe to the show on iTunes, leave a review, and share it with a friend! To learn more about Anti-Asian racism and violent attacks, take action, donate, and more, visit https://anti-asianviolenceresources.carrd.co/. To learn more about anti-semitism and sign petitions, visit https://antisemitism.carrd.co/. To learn about Black Lives Matter and how you can help - from protests to donations to petitions - visit https://blacklivesmatters.carrd.co/ and https://allcards.carrd.co/. Follow Alicia Cherubino: https://instagram.com/alicia_cherub Follow Generation GC: https://facebook.com/generationGCpod https://twitter.com/generationGCpod https://instagram.com/generationGCpod Follow Molly Hudelson: https://twitter.com/mhudelson https://instagram.com/mhudelson --- Send in a voice message: https://anchor.fm/generationgcpod/message Support this podcast: https://anchor.fm/generationgcpod/support

Welcome to the Elevator World News Podcast. Today's podcast news podcast is sponsored by elevatorbooks.com: www.elevatorbooks.com NEW EMIGRATION HALL OPENS AT AIRPORT IN SRI LANKA A new “Emigration Hall” opened at the departure passenger terminal in the Bandaranaike International Airport (BIA) in Sri Lanka, ColomboPage reports. The terminal was renovated under the BIA Terminal 1 expansion project, and 23 emigration counters have been added, allowing passengers to avoid congestion and reach their destinations without hassle. Two new escalators with three additional floors and a new elevator were among the upgrades installed at the terminal. Minister of Tourism Prasanna Ranatunga and Minister of Youth and Sports Namal Rajapaksa opened the terminal on July 15. Image credit: by Cherubino for Wikipedia To read the full transcript of today's podcast, visit: elevatorworld.com/news Subscribe to the Podcast: iTunes │ Google Play | SoundCloud │ Stitcher │ TuneIn

Themen im Podcast: - wie entweiche ich einer Destabilisierung innerhalb der Hochschule? - wie finde ich einen passenden Professor? - wie stelle ich mich realitätsnah auf, um mich im Markt etablieren zu können? Hedwig Fassbender ist Gründerin des Exzellenz Labor Gesang und studierte zunächst Klavier und Schulmusik in Köln und begann danach ihr Gesangsstudium bei Ernst Haefliger in München. Sie gewann noch während ihrer Ausbildung den Hugo-Wolf-Wettbewerb in Wien und den Mozartfest-Wettbewerb in Würzburg. Ihre Karriere begann sie an den Opernhäusern in Freiburg und Basel, wo sie fünf Jahre fest engagiert war. Während dieser Zeit sang sie wichtige Mezzosopranpartien wie Cherubino, Octavian, Idamante und Nicklausse. Seit 1987 ist sie freischaffend tätig und sang als Gast unter anderem in Paris, Amsterdam, Barcelona, Wien und Hamburg und Berlin. Inzwischen wechselte sie in das dramatische Mezzofach und sang Partien wie Carmen oder die Fricka im Ring des Nibelungen. Mit der Übernahme der Isolde am Staatstheater Saarbrücken 2001 erweiterte sie ihr Repertoire und sang seitdem auch einige Sopranrollen (Marie in Wozzeck, Fremde Fürstin in Rusalka, Marschallin im Rosenkavalier, Ariane in Ariane et Barbe-Bleue u. a.). 2003 erhielt sie eine Nominierung zur Sängerin des Jahres für ihre Interpretation der Sieglinde (Die Walküre) in Lüttich. Heute ist Hedwig Fassbender vor allem als Herodias (Salome) und als Kostelnicka/Küsterin (Jenůfa) bekannt. Seit 1999 unterrichtet sie als Professorin an der Hochschule für Musik und Darstellende Kunst in Frankfurt am Main. Seit 2015 betreut sie regelmäßig das Opernstudio Zürich (IOS) und arbeitet mit den Sängern der Opernstudios der Pariser Oper und des Bolschoi-Theaters. Zu ihren Absolventen beispielsweise Björn Bürger, Sebastian Kohlhepp, Katharina Magiera, Kateryna Kasper, Nohad Becker, Stine Fischer, Ruzan Mantashyan, Jana Baumeister, Keith Stonum, Amadeu Tasca, Gurgen Baveyan, Esther Dierkes und Linda Sommerhage Photocredit: Matthias Baus Das alles in dieser Episode von Careers of Classical Musicians! Diese Folge wird präsentiert von Dreher.Media

Today I have my soon-to-be frequent special guest host, Farida. We discuss the little things in life that make us anxious and argue over situations that will hopefully* never have to happen.

In this episode, I talk with tenor and trans activist Holden Madagame about his story, from when he played Cherubino in college, to his vocal experience taking testosterone, to his ongoing definition of trans activism.You can follow Holden's career, read his blog, and join his YouTube/Patreon community over at holdenmadagame.com !Follow us @thisembodiedvoice to hear about new episodes and tell us who you want to hear next on the podcast.Music:-"Would you gain the tender creature" from Acis and Galatea by Handel, performed by Holden Madagame, tenor, and Le Maschere Galanti.-"Breathe" aria from Good Country, a chamber opera composed by Keith Allegretti, libretto by Cecelia Raker Ehrenfeld. Performed by Holden Madagame, tenor. Conducted by Keith Allegretti. Musicians: Christabel Lin (1st Violin), Phil Davidson (2nd Violin), Meagan Peaco (Viola), Julia Dixon (Cello). -Just Smile by LiQWYD https://soundcloud.com/liqwydCreative Commons — Attribution 3.0 Unported — CC BY 3.0Free Download / Stream: https://bit.ly/-just-smileMusic promoted by Audio Library https://youtu.be/lMGw8bTCBww

The Damnation of Faust (La damnation de Faust) is a work by 19th-century French composer Hector Berlioz for four solo voices, chorus, children’s chorus, and orchestra based on German Romantic poet Johann Wolfgang von Goethe’s Faust.Santiago del Estero is a province and city in northern Argentina.Lima is the capital and largest city of Peru.Carlos Gardel was a French Argentine singer notable for his tango compositions and hundreds of recordings of tango pieces.Loons are aquatic birds found in North America and northern Eurasia.The Peruvian panpipe (Andean panpipe or siku) is a traditional flute-like instrument associated with music from the Qullasuyu region of the Andean Mountains of South America.Ella Fitzgerald was one of the best-known American jazz singers of the 20th century.Frank Sinatra was an American singer and actor who is one of the best-selling musicians of all time.Fred Astaire was an American dancer, singer, actor, and choreographer most noted for work in film and television.Gene Kelly was an American actor, dancer, and director known for his lead roles in Singin’ in the Rain and An American in Paris.Located near Lincoln Center in New York City, LaGuardia High School is a public magnet high school focusing in the visual and performing arts.Marilyn Horne is an American mezzo-soprano and music pedagogue.Matthew Epstein is a prominent artistic advisor and artist manager within the opera community.Der Rosenkavalier is a frequently performed comic opera by German composer Richard Strauss.A pants role (or trouser role) is a character which is performed by a woman in traditionally masculine clothing. Some examples of these roles include Cherubino from W.A. Mozart’s The Marriage of Figaro and Count Ottavio from Richard Strauss’s Der Rosenkavalier.Dorabella is a principle soprano role from W.A. Mozart’s comic opera Così fan tutte.Marnie is an opera by contemporary American composer Nico Muhly based on Winston Graham’s 1961 novel by the same name. Notably, Alfred Hitchcock directed a film adaptation of the same novel. Leonard performed the title role in the U.S. premiere of the operatic adaptation at the Metropolitan Opera in 2018.Coal Mountain is an opera by contemporary American composer Jennifer Higdon surrounding the American Civil War.The Fach system is a method of categorizing singers’ voices into specific “types.” Not all musicians agree with every aspect of the system, however it is a commonly used tool for understanding the range, weight, and color of a singer’s voice.Rosina is a principle soprano role in Gioachino Rossini’s comic opera The Barber of Seville. Leonard will perform this role in Cincinnati Opera’s 2021 Summer Festival.Edith Bers was a member of the voice faculty at The Julliard School.White Fragility is a book by Robin DiAngelo about systemic racism in the United States.Trevor Noah is a South African comedian and political commentator known for being the current host of the satirical The Daily Show.The Hardy Boys is a series of mystery novels for children written under the name Franklin W. Dixon.Schitt’s Creek is an acclaimed Canadian television sitcom.

New episode of the ‘Something (rather than nothing)’ podcast with Opera Singer Mackenzie RogersI had a most stimulating conversation with Mackenzie about art’s role in a pandemic, art's role in challenging white supremacy, opera, van Gogh, painting, Cabaret, philosophy and what it feels like to be painted into a painting.Ms. Rogers is a talented actress and performer whose recent credits include Nancy in Albert Herring, Cherubino in Le nozze di Figaro, Belinda in Dido and Aeneas, the Forrester's Wife in The Cunning Little Vixen, Betty in Over Here!, and the Announcer in Gallantry, A Soap Opera. In 2017, she also joined the ensembles of Portland Opera's production of La Bohème and Broadway Rose Theatre's rendition of the popular musical The Addams Family, the latter of which received the Drammy Award for Best Ensemble and the PAMTA Awards for Outstanding Ensemble and Outstanding Revival. 

We continue our look at the two great Figaro operas with a deep dive into Mozart's dark sexual comedy "Le Nozze di Figaro". We talk about Soren Kierkegaard, "Either/Or", trouser roles, gender ambiguity, castratos, Peter Pan, Harpo Marx, Prince's "Purple Rain", Pierre Augustin Caron de Beaumarchais, Rossini, Strauss, "Der Rosenkavalier", "La Mere Coupable", "Porkys", and Marc Eliot Stein's theory that a Stephen Foster folk song and Leadbelly blues song are inspired by Mozart's operatic masterpiece.

Die Handlung ist verwirrend und klingt nach turbulenter Liebesfarce. Doch Mozart liefert mit seiner Oper weit mehr als eine muntere Love-Story: Bürger kämpfen gegen den Adel um ihre Rechte. Wie eine Vorahnung der französischen Revolution wirkt Mozarts Oper. Und das mit einer Musik, die zugleich leichtfüßig und komplex ist. (Autor: Mercks)

Tras la jornada 16 de la Primera Iberdrola analizamos todo lo sucedido. Hablamos de la creación de la nueva Supercopa Femenina, analizamos el nuevo Betis, charlamos con su mentor Pier Cherubino y hablamos sobre el CD Tacón-Barça más la lucha por la tercera plaza.

En la semana de la vuelta a la normalidad en Primera Iberdrola analizamos todo lo sucedido en la Jornada 10. Charlamos con Pier Cherubino sobre la zona alta y su futuro en los banquillos, hablamos del Sevilla Femenino con Amparo tras la goleada al Valencia y analizamos al Levante que ganó en Las Gaunas con Laura Alapont. Para cerrar, charlamos con Alejandro Pecci sobre el Betis y Damaris Egurrola.

Die berühmte Mezzosopranistin Agnes Baltsa feiert am 19. November ihren 75. Geburtstag. Ihr Repertoire reichte vom Cherubino in Mozarts Le Nozze di Figaro bis zur Klytämnestra in Strauss‘ Elektra. BR-KLASSIK gratuliert der Sängerin mit einem Porträt von Volkmar Fischer.

Die Opernsängerin Iris Schiffer steht kurz vor ihrem Karriere-Durchbruch - und zwischen zwei Männern, als sie erfährt, dass sie schwanger ist. Sie will ein Kind und die große Karriere und sie will sich nicht zwischen den Männern entscheiden müssen: eine „moderne“ Frau, die nur das auch will, was den Männern schon immer zustand und die merkt, dass dieses Leben unendlich viel komplizierter ist als sie sich das vorgestellt hat.Zsolnay VerlagISBN: 978-3-552-05949-8317 Seiten 23 Euro

Für Mezzosopranistinnen ist Mozarts "Cherubino" eine der berühmtesten Opernrollen: der junge Page, voller Liebe, der das Leben und die Enttäuschungen noch vor sich hat. "Cherubino" heißt auch der neue Roman der österreichischen Schriftstellerin Andrea Grill über eine moderne (und schwangere) Sängerin inmitten lauter emotionaler Zwickmühlen.

Audun Iversen og Ingeborg Gillebo studerte sammen. Her får du høre hvordan det er å synge mot hverandre, som Grev Almaviva og Cherubino i Figaros bryllup. Også inspisienten har en viktig rolle i en operaforestilling, men hva gjør han egentlig?

Auf der Frankfurter Buchmesse wird jährlich der Buchpreis verliehen. Wir stellen täglich die nominierten Romane vor. Heute ist das „Cheurbino“, geschrieben von Andrea Grill.Der Artikel zum Nachlesen: https://detektor.fm/kultur/deutscher-buchpreis-2019-andrea-grill

This week's show was a belter (00:03) Lyndon Muir, Manjimup Tigers, leading into their must win game against the Southerners in LSWFL (06:42) Nigel Reeve gives us the rundown of the LSWFL Round 17 (14:33) This weekend, Mark Cherubino equals the Harvey Bulls league games record of Nathan Scott (22:32) Dan and Craney preview Round 17 of the SWFL

Matteo Pais, coach and music coordinator of the Scuola dell'opera italiana in Bologna, joins us this week to talk about two arias from Le nozze di Figaro, Susanna's 4th act aria "Deh, vieni, non tardar" and Cherubino's first aria "Non so più cosa son". We concentrate on Rs in every position, the letter G and what to do when there are millions of vowels in a row. The libretto for Le nozze di Figaro is can be found at the Opera Guide website here--sometimes it defaults to the main entry page, so you may have to click on Libretto and then on the letter "I" for Italian. "Deh, vieni, non tardar" is almost at the end, Recit and Aria Nr. 28, while Cherubino's aria is close to the beginning, Aria Nr. 6. Le nozze di Figaro is based on Pierre Beaumarchais' Le mariage de Figaro, the second in a trilogy of plays (which starts with Le Barbier de Séville). The librettist for Mozart's opera, Lorenzo da Ponte led a very colorful life that's worth looking into as well! As always, please feel free to contact me with questions, comments or suggestions here, at the Facebook page or directly at ellen@ellenrissinger.com