Podcasts about Christoph Willibald Gluck

In this episode, we talk about how how Jane Austen tells us about the feelings of Anne and Captain Wentworth, and how the narrator captures Anne's emotions; the building up of the relationship between Charles and Mary, and their reaction to Little Charles' accident; Mrs Musgrove's feelings about her son; and Mrs Croft's travels.The character we discuss is Captain Wentworth. In the historical section, Harriet's partner Michael talks about the Navy, and for popular culture both Harriet and Michael discuss 1995 BBC film adaptation of Persuasion.Things we mention:General discussion:Janet Todd and Antje Blank [Editors], The Cambridge Edition of the Works of Jane Austen: Persuasion (2006)Character discussion:First Impressions podcast, ‘Ep 17: Persuading Kristin to Like Persuasion‘, 22 January 2017.Historical discussion:Security to Merchant Ships Act 1707 (6 Ann. c. 65), generally known as the Cruisers and Convoys Act 1708Distribution of prize money: see table on our websitePopular culture discussion:BBC Film, Persuasion (1995) – starring Amanda Root and Ciarán HindsWatch on YouTubeStairs on the Cobb (photo)Louisa's fall (this YouTube video shows the same scene from four different adaptations of Persuasion)Creative commons music used:Extract from Wolfgang Amadeus Mozart, Sonata No. 12 in F Major, ii. Adagio.Extract from Joseph Haydn, Piano Sonata No. 38. Performance by Ivan Ilić, recorded in Manchester in December, 2006. File originally from IMSLP.Extract from Wolfgang Amadeus Mozart, Sonata No. 13 in B-Flat Major, iii. Allegretto Grazioso. File originally from Musopen.Extract from George Frideric Handel, Suite I, No. 2 in F Major, ii. Allegro. File originally from Musopen.Extract from Christoph Willibald Gluck, Orfeo ed Euridice. File from IMSLP.Extract from Ludwig van Beethoven, Piano Sonata No. 28 in A major. File originally from Musopen.

In this episode, we talk about how the backstory of Anne and Wentworth is presented without comedy, and yet is absolutely enjoyable. We then move on to the introduction of Mary, and why she is the way she is, the generational change we see in the Musgrove family, and the very unsympathetic portrayal of Dick Musgrove.The character we discuss is Lady Russell. In the historical section, Ellen talks about social precedence, and for popular culture Harriet has watched the 1972 Spanish television adaptation of Persuasion.Things we mention:General discussion:Janet Todd and Antje Blank [Editors], The Cambridge Edition of the Works of Jane Austen: Persuasion (2006)George Eliot, Middlemarch(1872)Maria Edgeworth, The Good French Governess (1801)Charlotte M. Yonge, The Daisy Chain (1856)Ethel Turner, Seven Little Australians(1894)Historical discussion:Anthony Powell, The Acceptance World (1955)The Right Hon. the Countess of *******, Mixing in Society: A Complete Manual of Manners (1870)Debrett's Tables of PrecedencePopular culture discussion:TVE, Novela: Persuasión (1972) – starring Maite Blasco and Juan DiegoWatch on YouTube: PlaylistCreative commons music used:Extract from Wolfgang Amadeus Mozart, Sonata No. 12 in F Major, ii. Adagio.Extract from Joseph Haydn, Piano Sonata No. 38. Performance by Ivan Ilić, recorded in Manchester in December, 2006. File originally from IMSLP.Extract from Wolfgang Amadeus Mozart, Sonata No. 13 in B-Flat Major, iii. Allegretto Grazioso. File originally from Musopen.Extract from George Frideric Handel, Suite I, No. 2 in F Major, ii. Allegro. File originally from Musopen.Extract from Christoph Willibald Gluck, Orfeo ed Euridice. File from IMSLP.Extract from Ludwig van Beethoven, Piano Sonata No. 28 in A major. File originally from Musopen.

Pochi compositori si sono guadagnati una cattiva reputazione come quella di Antonio Salieri, il compositore che, secondo popolari chiacchiere, avvelenò Wolfgang Amadeus Mozart. Questa voce è nata, o almeno si è diffusa, grazie all'opera teatrale Amadeus di Peter Shaffer e al successivo adattamento cinematografico. Era una commedia eccezionalmente buona e un film eccellente. Ma ecco la verità . . . Salieri non ha ucciso Mozart. Mentre Salieri e Mozart erano effettivamente contemporanei e probabilmente erano in competizione per varie commissioni, la portata della loro rivalità è stata notevolmente esagerata. Chi era Salieri? Antonio Salieri è stato un importante compositore italiano dell'epoca classica, noto per le sue opere, le sue sinfonie e la sua musica da camera. Nato il 18 agosto 1750 a Legnago, città della Repubblica di Venezia, Salieri mostrò una precoce attitudine per la musica. Riconoscendone il talento, i genitori lo iscrissero a lezioni di musica con musicisti locali. Poi, all'età di 16 anni, Salieri si trasferì a Venezia, dove studiò con l'eminente violinista e compositore italiano Giuseppe Tartini. Durante il suo soggiorno a Venezia, Salieri affinò le sue abilità di violinista e compositore, attirando l'attenzione dell'élite musicale viennese. Nel 1766 Salieri si recò a Vienna, dove continuò la sua educazione musicale sotto la guida di Christoph Willibald Gluck. Vienna si rivelò un terreno fertile per la fiorente carriera di Salieri, che si affermò rapidamente come figura di spicco nel panorama musicale della città. Il talento e la dedizione a Salieri valsero il patrocinio dell'imperatore Giuseppe II, grazie a cui nel 1788 fu nominato compositore di corte. Questa prestigiosa posizione fornì a Salieri le risorse e il supporto per comporre opere, tra cui Axur, Re d'Ormus (1788), Les Danaïdes (1784) e la sua versione di Falstaff (1799), giusto per citare qualche esempio. Le sue opere furono ben accolte ed eseguite nei teatri di tutta Europa, consolidando la reputazione di Salieri come uno dei principali compositori del suo tempo. Oltre alle sue composizioni operistiche, Salieri scrisse anche un numero considerevole di brani strumentali, tra cui sinfonie, concerti e musica da camera. Anche se in genere non si percepisce il genio di Mozart nelle sue composizioni, esse sono caratterizzate dalla loro eleganza melodica, dalla ricchezza armonica e dall'orchestrazione magistrale, che riflettono lo stile del periodo classico. Nei suoi ultimi anni, Salieri continuò a comporre in modo prolifico e rimase una figura influente nella comunità musicale viennese. Ha fatto da mentore a una nuova generazione di compositori, fra cui Ludwig van Beethoven e Franz Schubert, lasciando un'eredità duratura sullo sviluppo della musica classica. Antonio Salieri morì il 7 maggio 1825 a Vienna, lasciando dietro di sé un corpus di opere ricco e variegato che continua a essere apprezzato ed eseguito fino a oggi. Nonostante le successive polemiche che circondano il suo rapporto con Mozart, i contributi di Salieri al mondo della musica permangono come testimonianza del suo talento e della sua dedizione. Alcune composizioni di Salieri Opere Armida. Falstaff. La Scuola de' Gelosi. Un'opera buffa. Opere corali La Passione di Gesù Cristo. Oratorio per coro, orchestra e solisti. Requiem in Do minore. Opere orchestrali e concerti Sinfonia in re maggiore (“La Veneziana”). Concerto per pianoforte e orchestra in si bemolle maggiore.

Donald Macleod showcases the life and music of Christoph Willibald Gluck Christoph Willibald Gluck (1714-1787) arguably did more to transform opera than any composer of his generation: thinking deeply about how text and music should work together, and trying to strip away fripperies to ensure it was urgent, powerful and arresting. His radical approaches made him one of the most influential composers in history - and yet today, he's known in the concert hall almost exclusively for one work: his masterpiece “Orpheus and Eurydice”. This week, Donald Macleod puts that right: showcasing Gluck's dazzling and enchanting music from across his life - whilst also showing off his most famous work.Music Featured: Dance of the Blessed Spirits (Orfeo ed Eurydice) Non hai cor per un'impresa (Ipermestra, Wq 7) Sperai vicino il lido (Demofoonte, Wq 3) Se in campo armato (La Sofonisba, Wq 5) Nobil onda (La Sofonisba, Wq 5) Orfeo ed Euridice (excerpts) M'opprime, m'affanna (La Sofonisba, Wq 5) Qual ira intempestiva … Oggi per me non sudi; Oggi per me sudi (La Contesa de'numi, Wq 14) Trio Sonata no I in C Major (1st mvt) Ciascun siegua il suo stile...Maggior follia non v'e (La Semiramide riconosciuta, Wq 13) Misera, dove son…; Ah! non son io (Ezio, Wq 15) Dance of the Furies (Orphee et Eurydice: Act 2, Scene 1) Tremo fra dubbi miei (La Clemenza di Tito, Wq 16) (Act 3) Son lungi e non mi brami (Le Cinesi, Wq 18) Berenice che fai (Antigono, Wq 21) Don Juan (selection) Divinités du Styx (Alceste, Wq 37) O Del Mio Dolce Ardor; Le Belle Immagini (Paride ed Elena, Wq 39) Vous essayez en vain - Par la crainte; Adieu, conservez dans votre âme (Iphigénie en Aulide, Wq 40) Gluck (arr Schubert) Rien de la nature (Echo et Narcisse) Armide (Act 5 opening) Iphigenie en Tauride, Wq 46 (excerpts) De Profundis Orphee et Eurydice (1774 Paris edition): Act 3 (finale)Presented by Donald Macleod Produced by Steven Rajam for BBC Audio Wales & WestFor full track listings, including artist and recording details, and to listen to the pieces featured in full (for 30 days after broadcast) head to the series page for Christoph Willibald Gluck (1714-1787) https://www.bbc.co.uk/programmes/m0022znr And you can delve into the A-Z of all the composers we've featured on Composer of the Week here: http://www.bbc.co.uk/programmes/articles/3cjHdZlXwL7W41XGB77X3S0/composers-a-to-z

Seit 1948 finden in der kleinen Universitätsstadt Aix-en-Provence jeden Sommer die Internationalen Musikfestspiele statt, um die Region um Marseille kulturell aufzuwerten. Seit geraumer Zeit kommen aber Künstler und Publikum nicht nur aus Frankreich, sondern aus aller Welt, um Musiktheater auf höchstem Niveau zu erleben. So auch diesen Sommer zur Doppelpremiere der Festspieleröffnung: „Iphigénie en Aulide“ und „Iphigénie en Tauride“ von Christoph Willibald Gluck. Ein solcher Opern-Marathon ist sehr selten zu erleben. Die Aufführung ist in jeder Minute szenisch und musikalisch bewegend und fesselnd, findet Barbara Giese.

Die Akademie der Wissenschaften und Literatur Mainz feiert in diesem Jahr ihr 75-jähriges Bestehen. Am kommenden Wochenende wird dieses Jubiläum aber zur Nebensache: Der zentrale Anlass ist der Abschluss der Gesamtausgabe aller Werke Christoph Willibald Glucks. Nächstes Jahr wird nach 44 Jahren Förderung sein gesamtes überliefertes Werk in 59 Bänden vorliegen. Wissenschaftlich geleitet wurde das Projekt unter anderem von Tanja Gölz. Sie blickt zurück auf die Höhepunkte und Herausforderungen des Editionsvorhabens und erzählt, ob Gluck selbst etwas mit Mainz zu tun hatte.

For transcriptions and more detailed shownotes, please go to: https://swordschool.com/podcast/historical-dancing-historical-fencing-and-a-bear-with-sarina-wagner/  To support the show, come join the Patrons at  https://www.patreon.com/theswordguy Sarina Wagner is a musical actress and dancer who trained at the University of Music and Arts of the City of Vienna, which is probably the best place in the world to do that. She is a historical fencer focusing on Capoferro and Fabris, as well as Spanish destreza. She is currently a member of the Academia da Espada. We talk about why Sarina moved to Vienna, and her work running workshops about musicians and dance. One of her favourite composers is Jean-Baptiste Lully, and she likes to do her fencing training to his operas. Have a listen here to see if you'd like to do the same: (3. Symph., I. Movement // 6. Symph., I. Movement) https://open.spotify.com/playlist/0ITjm7yPne7OTsUspx5p48?si=aa2708b74265446b The above playlist also contains another of Sarina's favourite composers, her fellow Bavarian, Christoph Willibald Gluck, plus a couple of tracks from Anton Bruckner. We talk about how a grounding in dance can really help with fencing, and Sarina recommends all fencers go and take a few dance lessons – the waltz is an easy one to start with. And have a couple of beers first. As promised, these are the books on historical dance Sarina is working from: ORCHESORGRAPHY by Thoinot Arbeau (1589) (Sarina's version is from Dover Publications, 1967) COURTLY DANCE OF THE RENAISSANCE - A new Translation and Edition of the “Nobilta di Dame” by Fabritio Caroso (1600) (Sarina's version is from Dover Publications, 1995) In our conversation we talk about how we can learn from other disciplines, and Sarina sent an extra note to say, “[T]hanks to Chris Lee-Becker and Ton Puey and Academia da Espada for being so supportive and pushing this work forward, because it's also in the spirit of Academia, where everything from the era is supposed to flow together to develop a sense and understanding of the time. In my words, and this fits so well, because this is also how I see myself as an artist: interdisciplinarity.” Finally, here's a picture of the armoured bear, Don Herkules, who accompanies Sarina to events: https://swordschool.com/wp-content/uploads/2024/05/image1-1024x683.jpeg

Mozarts "Tito" ist weltbekannt. Christoph Willibald Gluck hat schon 40 Jahre vorher eine Oper über den römischen Kaiser komponiert. Sie erklang nun zur Eröffnung der Gluck-Festspiele im Marktgräflichen Opernhaus Bayreuth. Eine Entdeckung!

Welkom terug bij een nieuwe aflevering van Kalm met Klassiek, dé podcastserie voor je dagelijkse momentje rust. We gaan vandaag luisteren naar een prachtige melodie uit de opera ‘Orpheus en Eurydice' gecomponeerd door Christoph Willibald Gluck. Die opera gebaseerd op het verhaal van Orpheus uit de Griekse mythologie. Hoe dat verhaal ook alweer gaat? Dat hoor je in deze aflevering! 

Welkom terug bij een nieuwe aflevering van Kalm met Klassiek, dé podcastserie voor je dagelijkse momentje rust. Vandaag heeft Ab weer muziek voor je uitgezocht, helemaal in het thema van deze week: “Balletmuziek”. In de tweede acte van de opera Orfeo en Euridice van Christoph Willibald Gluck probeert de zanger Orfeo (Orpheus) toegang te krijgen tot de onderwereld om zijn geliefde Euridice te redden uit de klauwen van de dood. Hij komt aan op de Elysese velden en is onder de indruk van de schoonheid van het landschap. Hij vraagt de geesten om Euridice naar hem toe te brengen. Gluck heeft dit prachtig op muziek gezet.

Un Día Como Hoy 2 de Julio: Nace: 1714: Christoph Willibald Gluck, compositor alemán (f. 1787). 1877: Hermann Hesse escritor alemán. 1923: Wislawa Szymborska, poetisa y traductora polaca, premio nobel de Literatura en 1996 (f. 2012). Fallece: 1566: Nostradamus, astrólogo y boticario francés (n. 1503). 1591: Vincenzo Galilei, laudista y compositor italiano (n. 1520). 1778: Jean-Jacques Rousseau, escritor, compositor y filósofo suizo (n. 1712). 1961: Ernest Hemingway, novelista, cuentista y periodista estadounidense, premio Nobel de literatura; suicidio (n. 1899). 1977: Vladimir Nabokov, novelista y crítico ruso (n. 1899). 1999: Mario Puzo, escritor y guionista estadounidense (n. 1920). 2007: Beverly Sills, soprano y personalidad televisión estadounidense (n. 1929). Conducido por Joel Almaguer. Una Producción de Sala Prisma Podcast. 2023

SynopsisIn German, “Gluck” means ‘luck', and today's date marks the birthday of a German composer named Christoph Willibald Gluck, whose good fortune it was to be credited with “reforming” the vocally ornate but dramatically static form of Baroque opera.In the 18th century, opera was the biggest and most high-profile of all musical forms, and Gluck wrote 49 of them during his 67 years of life. Like many 18th century opera composers, the stories Gluck chose were often based on ancient Greek myths such as “Orpheus and Eurydice.”It wasn't the matter of Gluck's operas that was revolutionary, but the manner in which he set these stories to music. When the British music historian Charles Burney visited Gluck in 1771, he recorded the composer's own words on the subject.“It was my design,” said Gluck,” to divest music of those abuses which the vanity of singers, or the complacency of composers, had so long disfigured Italian opera and made the most beautiful and magnificent of all public exhibitions into the most tiresome and ridiculous.”To sum it all up, Gluck told Burney, “My first and chief care as a dramatic composer was to aim at a noble simplicity.”Music Played in Today's ProgramChristoph Willibald von Gluck (1714 - 1787) Dance of the Blessed Spirits, fr Orpheus Academy of Ancient Music; Christopher Hogwood, cond. L'Oiseau-Lyre 410553

Una nueva forma para viajar, a traves de las grandes obras musicales del genero clasico. Conducido por Juan Fernando Villafuerte Ex colaborador de la Deutsche Welle de Alemania y la Elizabeth Trabanino, Directora de Radio Clasica, quienes a traves de una tertulia contaran las historias que se esconden detras de las operas a manera de poner en contexto al publico sobre el origen de estas grandes composiciones.

Cecilia Bartoli präsentiert bei ihren Pfingstfestspielen in Salzburg heuer die "Orpheus"-Oper von Christoph Willibald Gluck. Der Försterssohn aus der Pfalz galt seinen Zeitgenossen als bedeutendster Opernkomponist. Noch im 19. Jahrhundert wollte man ihm in Wien ein Denkmal, gemeinsam mit Haydn, Mozart und Beethoven setzen. Heute ist er ein Komponist für Kenner. Eine akustische Spurensuche.

a cura di Paolo PellegriniOrfeo, Fedora BarbieriEuridice, Hilde GudenAmore, Magda GaboryOrchestra e Coro del Teatro alla Scala di MilanoWilhelm Furtwängler, direttore

Irgendwie haben's die Oberpfälzer in Bayern drauf. Zumindest was die Musik betrifft. In der Oberpfalz wurde der Erneuerer der Oper, Christoph Willibald Gluck geboren. Der Erfinder des Metronoms, Johann Mälzel, auch der stammt von dort. Und in der Oberpfalz erblickte auch das Genie der Orgelmusik, Max Reger, das Licht der Welt.

Música

Synopsis On today's date in 1777, the German composer Christoph Willibald Gluck was baffled by Parisian audiences and wrote these lines to a friend: “I am so much disgusted with music that at present that I would not write one single note for any amount of money… Never has a more keenly-fought battle been waged than by the enemies of my new opera, Armide. The intrigues against my previous operas were no more than little skirmishes in comparison. Admirers tell me, ‘Sir, you are fortunate to be enjoying the honor of persecution' and ‘every genius has had the same experience'— Bah! To the devil with their fine speeches! “Still, yesterday, at the eighth performance of Armide, the hall was so tightly packed that when a man was asked to take off his hat, he replied, ‘Come and take it off yourself, I can't move my arms!'—which caused laughter. I have seen people coming out with their hair bedraggled and their clothes drenched as though they had fallen into a stream. Only the French would pay for such an experience!” Gluck would ultimately triumph in Paris and could count among his most ardent supporters none other than the French queen, Marie Antoinette—who presumably had a much cooler and certainly less crowded box at the opera. Music Played in Today's Program Christoph Willibald von Gluck (1714-1787) Act 2 aria, from Armide Rockwell Blake, tenor; Monte Carlo Philharmonic; Patrick Fournillier, cond. EMI 55058 Christoph Willibald von Gluck Don Juan Ballet Music Rhine Chamber Orchestra of Cologne; Jan Corazolla, cond. Christophorus 74507

El castillo de Versalles acoge este mes la ópera 'Echo & Narcisse' -Eco y Narciso- de Christoph Willibald Gluck, en la que la soprano Adriana González interpretará el rol de Echo. Galardonada con múltiples premios y considerada por la crítica como una de las voces más prometedoras, Adriana González estuvo en Escala en París para hablar de su amor por la ópera, sus personajes predilectos y de lo que falta a América Latina para abrazar con mayor fuerza esa música.

El castillo de Versalles acoge este mes la ópera 'Echo & Narcisse' -Eco y Narciso- de Christoph Willibald Gluck, en la que la soprano Adriana González interpretará el rol  de Echo. Galardonada con múltiples premios y considerada por la crítica como una de las voces más prometadoras, Adriana González estuvo en Escala en París para hablar de su amor por la ópera, sus personajes predilectos y de lo que falta a América Latina para abrazar con mayor fuerza esa música. Es la primera vez que Adriana González se presentará en el castillo de Versalles, pero no es la primera vez que está en Francia. Fue en París donde hace casi diez años empezó su historia, un camino que la ha llevado por innumerables ciudades. "Fue Iñaki Encina Oyón, un director de orquesta vasco quien me escuchó en un coro mundial de jóvenes, que reunió a 65 jóvenes de todo el mundo. Él me explicó más sobre la ópera estudios que existen en el mundo y la formación de un cantante de ópera. Después de eso me invitó a hacer una producción en París y aquí estamos varios años después", cuenta la artista.  Nacida en Guatemala en 1991, Adriana comenzó a temprana edad su formación para interpretar ópera: "En el colegio no podía en realidad encontrar algún interés en las matemáticas, los números y todo eso; para mí siempre fueron las humanidades lo que me llamaban la atención: la historia, el arte, la filosofía, la música. Fue en el colegio donde empezó todo ese amor por el canto, pero el amor a la ópera comenzó en 2009 cuando empecé mis primeras clases de canto". Uno de los desafíos más difíciles de una cantante, en particular tratándose de la ópera es “habitar” al personaje que se representa, sobre todo a sabiendas que en cada ocasión se interpreta un personaje diferente. "La preparación de un cantante de ópera comienza años antes, no son semanas o meses. Hay una gran preparación, investigación que se hace del personaje, si existe una obra literaria; y después, por supuesto, existe toda una preparación técnica, vocal, musical para encontrar los colores, analizar psicológicamente qué queremos decir. Todo viene de regreso al texto a través de un sonido bello y potente", comenta nuestra invitada. Adriana González es muy conocida en Europa, pero poco en América Latina. Un recital programado en el Palacio de Bellas Artes, en México, debió anularse durante el año de la pandemia. "Desgraciadamente no lo hemos logrado recalendarizar. También estamos platicando ya con la Opera de Chile para organizar un concierto allá, y en Argentina también. Pero por supuesto que eso toma tiempo", asegura nuestra invitada.  Para la cantante es muy claro que si hay poca recepción de su género musical en la región es porque hay otras prioridades antes de "comprarse un ticket para ir a un concierto" y también porque hace falta espacios. "Hay muchísimas voces fantásticas que necesitan una plataforma educativa y laboral". Adriana González interpretará el papel de Micaela, de la ópera Carmen de Bizet, el 30 de noviembre y el 1 de diciembre en la sala Opera Bastille de París. Agradecimientos a: Houston Grand Opera Orchestra, Audax Records, University of music and performing arts Vienna, Marine Cessat-Begler, Agence Massis Opéra #EscalaenParís también está en las redes sociales. Un programa coordinado por Florencia Valdés , realizado por Souheil Khedir, Fabien Mugneret, Vanessa Loiseau. 

El castillo de Versalles acoge este mes la ópera 'Echo & Narcisse' -Eco y Narciso- de Christoph Willibald Gluck, en la que la soprano Adriana González interpretará el rol  de Echo. Galardonada con múltiples premios y considerada por la crítica como una de las voces más prometadoras, Adriana González estuvo en Escala en París para hablar de su amor por la ópera, sus personajes predilectos y de lo que falta a América Latina para abrazar con mayor fuerza esa música. Es la primera vez que Adriana González se presentará en el castillo de Versalles, pero no es la primera vez que está en Francia. Fue en París donde hace casi diez años empezó su historia, un camino que la ha llevado por innumerables ciudades. "Fue Iñaki Encina Oyón, un director de orquesta vasco quien me escuchó en un coro mundial de jóvenes, que reunió a 65 jóvenes de todo el mundo. Él me explicó más sobre la ópera estudios que existen en el mundo y la formación de un cantante de ópera. Después de eso me invitó a hacer una producción en París y aquí estamos varios años después", cuenta la artista.  Nacida en Guatemala en 1991, Adriana comenzó a temprana edad su formación para interpretar ópera: "En el colegio no podía en realidad encontrar algún interés en las matemáticas, los números y todo eso; para mí siempre fueron las humanidades lo que me llamaban la atención: la historia, el arte, la filosofía, la música. Fue en el colegio donde empezó todo ese amor por el canto, pero el amor a la ópera comenzó en 2009 cuando empecé mis primeras clases de canto". Uno de los desafíos más difíciles de una cantante, en particular tratándose de la ópera es “habitar” al personaje que se representa, sobre todo a sabiendas que en cada ocasión se interpreta un personaje diferente. "La preparación de un cantante de ópera comienza años antes, no son semanas o meses. Hay una gran preparación, investigación que se hace del personaje, si existe una obra literaria; y después, por supuesto, existe toda una preparación técnica, vocal, musical para encontrar los colores, analizar psicológicamente qué queremos decir. Todo viene de regreso al texto a través de un sonido bello y potente", comenta nuestra invitada. Adriana González es muy conocida en Europa, pero poco en América Latina. Un recital programado en el Palacio de Bellas Artes, en México, debió anularse durante el año de la pandemia. "Desgraciadamente no lo hemos logrado recalendarizar. También estamos platicando ya con la Opera de Chile para organizar un concierto allá, y en Argentina también. Pero por supuesto que eso toma tiempo", asegura nuestra invitada.  Para la cantante es muy claro que si hay poca recepción de su género musical en la región es porque hay otras prioridades antes de "comprarse un ticket para ir a un concierto" y también porque hace falta espacios. "Hay muchísimas voces fantásticas que necesitan una plataforma educativa y laboral". Adriana González interpretará el papel de Micaela, de la ópera Carmen de Bizet, el 30 de noviembre y el 1 de diciembre en la sala Opera Bastille de París. Agradecimientos a: Houston Grand Opera Orchestra, Audax Records, University of music and performing arts Vienna, Marine Cessat-Begler, Agence Massis Opéra #EscalaenParís también está en las redes sociales. Un programa coordinado por Florencia Valdés , realizado por Souheil Khedir, Fabien Mugneret, Vanessa Loiseau. 

In this episode, we read Chapters 40 to 45 of Mansfield Park. We talk about the plot of a girl brought up in privileged circumstances returning to her family, Mary's letters and how Fanny responds to them, the success of Henry's visit, Edmund's letter to Fanny, and Tom's illness.We discuss the Price family (with a slight digression into the idea of disposition and principle), then Ellen talks about servants and Harriet looks at how adaptations and modernisations treat these chapters. Things we mention: General and character discussion:John Wiltshire [Editor], The Cambridge Edition of the Works of Jane Austen: Mansfield Park (2005)Charlotte M. Yonge, The Pillars of the House (1873)Historical discussion:Claire Tomalin, Charles Dickens: A Life (2011)Popular culture discussion:Adaptations:BBC, Mansfield Park (1983) – starring Sylvestra Le Touzel and Nicholas Farrell (6 episodes)Miramax, Mansfield Park (1999) – starring Frances O'Connor and Jonny Lee MillerITV, Mansfield Park (2007) – starring Billie Piper and Blake RitsonModernisations:YouTube, Foot in the Door Theatre, From Mansfield With Love (2014-2015)Other references:Susan Coolidge, What Katy Did Next (1886)Creative commons music used:Extract from Wolfgang Amadeus Mozart, Sonata No. 12 in F Major, ii. Adagio.Extract from Joseph Haydn, Piano Sonata No. 38. Performance by Ivan Ilić, recorded in Manchester in December, 2006. File originally from IMSLP.Extract from Wolfgang Amadeus Mozart, Sonata No. 13 in B-Flat Major, iii. Allegretto Grazioso. File originally from Musopen.Extract from George Frideric Handel, Suite I, No. 2 in F Major, ii. Allegro. File originally from Musopen.Extract from Christoph Willibald Gluck, Orfeo ed Euridice. File from IMSLP.Extract from Ludwig van Beethoven, Piano Sonata No. 28 in A major. File originally from Musopen.

durée : 00:12:21 - Le Disque classique du jour du lundi 29 août 2022 - Jordi Savall et son orchestre, Le Concert des Nations présentent un nouvel enregistrement consacré à deux ballets de Christoph Willibald Gluck. Don Juan et Sémiramis sont ici brillamment interprétés...C'est notre disque du jour en cette rentrée !

In this episode, we read Chapters 31 to 34 of Mansfield Park. We talk about Fanny's initial failure to realise she has received a true proposal, the amount of pressure placed on her to accept, the picture everyone has of little, modest Fanny, and the difference between Sir Thomas and Fanny's views of marriage. We discuss Henry Crawford, then Ellen talks about ordination, and Harriet looks at how adaptations and modernisations treat these chapters, particularly the scene between Fanny and Sir Thomas. Things we mention: General and character discussion:Barbara Pym, Excellent Women (1952)The Daily Knightley (2021) [podcast]Historical discussion:Irene Collins, Jane Austen and the Clergy (2002)The 1559 Book of Common PrayerGeorgina Battiscombe, John Keble: A Study in Limitations (1963)Popular culture discussion:Adaptations:BBC, Mansfield Park (1983) – starring Sylvestra Le Touzel and Nicholas Farrell (6 episodes)Miramax, Mansfield Park (1999) – starring Frances O'Connor and Jonny Lee MillerITV, Mansfield Park (2007) – starring Billie Piper and Blake RitsonModernisations:YouTube, Foot in the Door Theatre, From Mansfield With Love (2014-2015)Comment on previous episodeThe Thing About Austen [podcast]Creative commons music used:Extract from Wolfgang Amadeus Mozart, Sonata No. 12 in F Major, ii. Adagio.Extract from Joseph Haydn, Piano Sonata No. 38. Performance by Ivan Ilić, recorded in Manchester in December, 2006. File originally from IMSLP.Extract from Wolfgang Amadeus Mozart, Sonata No. 13 in B-Flat Major, iii. Allegretto Grazioso. File originally from Musopen.Extract from George Frideric Handel, Suite I, No. 2 in F Major, ii. Allegro. File originally from Musopen.Extract from Christoph Willibald Gluck, Orfeo ed Euridice. File from IMSLP.Extract from Ludwig van Beethoven, Piano Sonata No. 28 in A major. File originally from Musopen.

Synopsis In Greek mythology, Orpheus was a priest of Apollo and a fabulous musician, who attempted to bring his dead wife Eurydice back from the underworld. On this day in 1774, in Paris, the first performance of the French version of the opera “Orpheus and Eurydice” by Christoph Willibald Gluck took place. Gluck originally wrote the opera in Italian, but for the French version in 1774, he added some new instrumental music, including a serene interlude depicting the “Dance of the Blessed Spirits” —an excerpt that has become one of Gluck's most famous and best-loved works. Over the centuries, more than 60 operas have been written on the theme of Orpheus and Eurydice. In fact, two of the very FIRST operas ever written are based on this legend, both by Italian composers of the late Renaissance: one by Jacopo Peri performed in 1600 and another by Claudio Monteverdi from 1607. One of the more recent operas based on the Orpheus legend is by the American composer Philip Glass, based on a libretto he adapted from the 1950 movie, “Orpheus,” by the surrealistic French poet and film director Jean Cocteau. The American Repertory Theatre and the Brooklyn Academy of Music commissioned Glass's version in 1993. Music Played in Today's Program Christoph Willibald Gluck (1714-1787) – Dance of the Blessed Spirits, fr Orphée (Academy of Ancient Music; Christopher Hogwood, cond.) L'oiseau Lyre 410 553 Philip Glass (b. 1937) – Act 2 Interlude, fr Orphée (Stuttgart Chamber Orchestra; Dennis Russell Davies, cond.) Nonesuch 79496-2

This week on The Sound Kitchen you'll hear the answer to the question about the three countries which have applied for membership in the European Union.  There's “On This Day”, “Ollia's Happy Moment”, plenty of good music, and of course, the new quiz question. Just click on the “Audio” arrow above and enjoy!  Hello everyone! Welcome to The Sound Kitchen weekly podcast, published every Saturday – here on our website, or wherever you get your podcasts. You'll hear the winner's names announced and the week's quiz question, along with all the other ingredients you've grown accustomed to: your letters and essays, “On This Day”, quirky facts and news, interviews, and great music … so be sure and listen every week. Erwan and I are busy cooking up special shows with your musical requests, so get them in! Send your musical requests to thesoundkitchen@rfi.fr  Tell us why you like the piece of music, too – it makes it more interesting for us all! Be sure you check out our wonderful podcasts! In addition to the breaking news articles on our site, with in-depth analysis of current affairs in France and across the globe, we have several podcasts which will leave you hungry for more. There's Paris Perspective, Africa Calling, Spotlight on France, and of course, The Sound Kitchen. We have an award-winning bilingual series - an old-time radio show, with actors (!) to help you learn French, called Les voisins du 12 bis. And there is the excellent International Report, too. As you see, sound is still quite present in the RFI English service. Keep checking our website for updates on the latest from our excellent staff of journalists. You never know what we'll surprise you with! To listen to our podcasts from your PC, go to our website and click on the three horizontal bars on the top right, choose “Listen to RFI / Podcasts”, and you've got ‘em ! You can either listen directly or subscribe and receive them directly on your mobile phone. To listen to our podcasts from your mobile phone, slide through the tabs just under the lead article (the first tab is “Headline News”) until you see “Podcasts”, and choose your show.  Teachers, take note! I save postcards and stamps from all over the world to send to you for your students. If you would like stamps and postcards for your students, just write and let me know. The address is english.service@rfi.fr  If you would like to donate stamps and postcards, feel free! Our address is listed below.  Another idea for your students: My beloved music teacher from St Edward's University in Austin, Texas, Dr Gerald Muller, has been writing books for young adults in his retirement – and they are free! There is a volume of biographies of painters and musicians called Gentle Giants, and an excellent biography of Dr Martin Luther King, Jr, too. They are also a good way to help you improve your English - that's how I worked on my French, reading books which were meant for young readers – and I guarantee you, it's a good method for improving your language skills. To get Br. Gerald's free books, click here.  Independent RFI English Clubs: Be sure to always include Audrey Iattoni (audrey.iattoni@rfi.fr) from our Listener Relations department in all your RFI Club correspondence. Remember to copy me (thesoundkitchen@rfi.fr) when you write to her so that I know what is going on, too. N.B.: You do not need to send her your quiz answers! Email overload! And don't forget, there is a Facebook page just for you, the independent RFI English Clubs. Only members of RFI English Clubs can belong to this group page, so when you apply to join, be sure you include the name of your RFI Club and your membership number. Everyone can look at it, but only members of the group can post on it. If you haven't yet asked to join the group, and you are a member of an independent, officially recognized RFI English club, go to the Facebook link above, and fill out the questionnaire !!!!! (if you do not answer the questions, I click “decline”). There's a Facebook page for members of the general RFI Listeners Club, too. Just click on the link above and fill out the questionnaire, and you can connect with your fellow Club members around the world. Be sure you include your RFI Listeners Club membership number (most of them begin with an A, followed by a number) in the questionnaire, or I will have to click “Decline”, which I don't like to do! This week's quiz: In early May, French President Emmanuel Macron was in Strasbourg to address the European Commission. He presented ideas for a new European political community, which we reported on in our article “Macron advocates for creation of a 'European political community beyond the bloc”. I asked you to send me the names of the three countries, all former USSR satellite states, that want to join the European Union.  The answer is: Ukraine, Moldova, and Georgia. As RFI Club member and long-time RFI English listener Vladimir Gudzenko from Moscow noted in his winning quiz entry: “The common problem in these countries is that all they are partly occupied by Russia! For Moldova, there is the self-proclaimed Republic of Transnistria, occupied by Russia. In Georgia, there are two self-proclaimed independent countries, also occupied by Russia:  Abkhazia and South Ossetia. Then in Ukraine, there is the Crimea and the Donbas and Lugansk regions, also self-proclaimed independent countries.”  EU membership takes a very long time, and for these three countries, with these very particular complications, it won't be easy … As Macron noted: "Even if we gave them candidate status tomorrow, we all know perfectly well that the process of allowing them to join would take several years, in truth doubtless several decades." So Macron proposed a "European political community", which would: “… allow democratic European nations ... to find a new space for political cooperation, security, cooperation in energy, transport, investment, infrastructure, the movement of people."  The winners are: Salehin An Nahiyann from the Shetu RFI Listeners Club in Naogaon, Bangladesh, and Sameen Riaz, from the RFI Listeners Club in Sheikhupura City, Pakistan. There's RFI English listener Pradip Basak from West Bengal, India, and RFI Listener Club members Sagor Mia – who is also the president of the “Let's go on the right path and tell the truth, radio listener club” in Kishoreganj, Bangladesh - and Vladimir Gudzenko who lives near Moscow, in Russia. Congratulations winners! Here's the music you heard on this week's program: “Dance of the Blessed Spirits” from the opera Orpheus and Eurydice by Christoph Willibald Gluck, performed by the Berlin Philharmonic conducted by Herbert von Karajan, with Karlheinz Zoeller, flutist; “Brazilian Breeze” by David Grisman, performed by Grisman and his quintet; “The Flight of the Bumblebee” by Nicolai Rimsky-Korsakov; “Happy” by Pharrell Williams, and “Lugt, Schwestern” from Richard Wagner's opera  Das Rheingold, sung by Diana Newman, Annie Rosen, Lindsay Ammann, and Samuel Youn, with the Chicago Lyric Opera Orchestra conducted by Sir Andrew Davis. Do you have a musical request? Send it to thesoundkitchen@rfi.fr This week's question ... You have to listen to the show to participate. After you've listened to the show, refer to our article “G7 aims to raise $600 billion to counter China's Belt and Road”  to help you find the answer. You have until 1 August to enter this week's quiz; the winners will be announced on the 6 August podcast. When you enter, be sure you send your postal address with your answer, and if you have one, your RFI Listeners Club membership number. Send your answers to: english.service@rfi.fr or Susan Owensby RFI – The Sound Kitchen 80, rue Camille Desmoulins 92130 Issy-les-Moulineaux France or By text … You can also send your quiz answers to The Sound Kitchen mobile phone. Dial your country's international access code, or “ + ”, then  33 6 31 12 96 82. Don't forget to include your mailing address in your text – and if you have one, your RFI Listeners Club membership number. To find out how you can win a special Sound Kitchen prize, click here. To find out how you can become a member of the RFI Listeners Club, or to form your own official RFI Club, click here. 

Orfeo ed Euridice is an opera composed by Christoph Willibald Gluck, based on the myth of Orpheus and set to a libretto by Ranieri de' Calzabigi. It belongs to the genre of the azione teatrale, meaning an opera on a mythological subject with choruses and dancing.  The piece was first performed at the Burgtheater in Vienna on 5 October 1762, in the presence of Empress Maria Theresa. Orfeo ed Euridice is the first of Gluck's "reform" operas, in which he attempted to replace the abstruse plots and overly complex music of opera seria with a "noble simplicity" in both the music and the drama.Purchase the music (without talk) at:Gluck: Orfeo ed Euridice (classicalsavings.com)Your purchase helps to support our show! Classical Music Discoveries is sponsored by La Musica International Chamber Music Festival and Uber. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber Please consider supporting our show, thank you!http://www.classicalsavings.com/donate.html staff@classicalmusicdiscoveries.com

En el penúltimo programa de los lunes de la temporada, vuelve la Historia de la Música con un programa en el que nos adentramos en la segunda mitad del siglo XVIII. Esta época es tremendamente fecunda para la música, pues encontramos una serie de compositores geniales como Carl Philipp Emanuel Bach, Niccolò Piccini o Christoph Willibald Gluck. Estos autores son los protagonistas de una etapa de transición entre los genios del Barroco Tardío y el Clasicismo musical, unos años en los que la nueva estética propuesta por la Ilustración se impone en toda Europa. Hoy repasamos los rasgos característicos del estilo galante (en Francia) o sentimental (en Alemania), y también tratamos de comprender la evolución desde una música tan complicada como la barroca a composiciones que buscan la sencillez y universalidad. Un día más, gracias a todos por escucharnos y os esperamos toda la semana para más ¡CONOCIMIENTOS MUSICALES!

Demofoonte is a dramma per musica or opera in 3 acts by composer Christoph Willibald Gluck. The work uses an Italian language libretto by Pietro Metastasio. The opera premiered on 6 January 1743 at the Teatro Regio Ducale in Milan.Purchase the music (without talk) at:Gluck: Demofoonte (classicalsavings.com)Your purchase helps to support our show! Classical Music Discoveries is sponsored by La Musica International Chamber Music Festival and Uber. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber Please consider supporting our show, thank you!http://www.classicalsavings.com/donate.html staff@classicalmusicdiscoveries.com

Oudemuziekkenner Kees Koudstaal schotelt u de mooiste en recentste CD’s met oude en klassieke muziek voor. Dit keer J.S. Bach door Toshiyuki Shibata en Anthony Romaniuk, Christoph Willibald Gluck door Sandrine Piau en Véronique Gens, en Johann Nepomuk Hummel door Il Pomo d'Oro.   1. Johann Sebastian Bach (1685-1750) – Fluitsonate in b klein, BWV […]

Neste programa, o maestro João Mauricio Galindo responde perguntas sobre Heitor Villa-Lobos e as “Bachianas Brasileiras”, especificamente, a n. 5 - Ária (Cantilena); “Carnaval dos Animais” de Camille Saint-Säens; João de Barro (Braguinha), o artista compôs “Carinhoso”, em parceria com Pixinguinha; “Orfeu e Eurídice” de Christoph Willibald Gluck.

From prison reform, the plight of refugees, the need for music education for all, to the industry-defining In War and Peace, opera superstar Joyce DiDonato has long been an artist who has dedicated herself to creating and initiating projects that challenge and galvanize the public, transcending the physical confines of the concert hall.Player.FM Podcast of the Day - Feb. 26, 2022TRACKLIST – EDENCharles Ives 1874-19541.      The Unanswered QuestionRachel Portman b.19602.      The First Morning of the World*Gustav Mahler 1860-1911Rückert-Lieder3.      II. “Ich atmet' einen linden Duft!”Biagio Marini 1594-1663Scherzi e canzone Op.54.      III. “Con le stelle in ciel che mai”        Josef Mysliveček 1737–1781Oratorio Adamo ed Eva (Part II)5.      Aria: “Toglierò le sponde al mare” (Angelo di giustizia)                             Aaron Copland 1900-19908 Poems of Emily Dickinson for voice and chamber orchestra6.      I. Nature, the gentlest motherGiovanni Valentini c.1582–16497.      Sonata enharmonica                                  Francesco Cavalli 1602–1676Opera La Calisto (Act I, Scene 14)8.      Aria: “Piante ombrose" (Calisto) Christoph Willibald Gluck 1714–1787Opera Orfeo ed Euridice Wq. 309.      Danza degli spettri e delle furie. Allegro non troppo        Christoph Willibald Gluck 1714–1787Scena ed aria Misera, dove son! From Ezio Wq. 15 (Fulvia)10.  Scena: “Misera, dove son!… ”11.  Aria: “Ah! non son io che parlo…” George Frideric Handel 1685–1759Dramatic oratorio Theodora HWV 68 (Part I)12.  Aria: “As with Rosy steps the morn” (Irene)Gustav MahlerRückert-Lieder         13.  IV. “Ich bin der Welt abhanden gekommen”                                                               Richard Wagner 1813–18835 Gedichte für eine Frauenstimme WWV 91 (Wesendonck Lieder)14.  IV. “Schmerzen”                                                                       BONUS TRACKGeorge Frideric HandelOpera Serse HWV 40 (Act I, Scene 1)15.  Recitativo: “Frondi tenere e belle”16.  Aria: “Ombra mai fù” (Serse)            *World-premiere recording Artists:Joyce DiDonato, soprano (1-6,8,10-16)Il Pomo d'OroMaxim Emelyanychev, conductor Purchase the music (without talk) at:Eden (classicalsavings.com)Your purchase helps to support our show! Classical Music Discoveries is sponsored by La Musica International Chamber Music Festival and Uber. @khedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber Please consider supporting our show, thank you!http://www.classicalsavings.com/donate.html staff@classicalmusicdiscoveries.com This album is broadcasted with the permission of Crossover Media Music Promotion (Zachary Swanson).

Le jeune chanteur haïtien de 24 ans, Angelord Blaise a remporté la quatrième édition du concours Voix des Outre-Mer, le 10 janvier 2022, sur la scène de l'amphithéâtre de l'Opéra Bastille (France). Un sacre qui va lancer le jeune talent haïtien vers une carrière en tant que chanteur lyrique. C'est grâce à une majestueuse interprétation du titre Che faro senza Euridice, écrit par Christoph Willibald Gluck qu'Angelord Blaise a pu décrocher le premier prix du concours Voix des Outre-Mer, le 10 janvier 2022, à Paris. Le jeune artiste de 24 ans, étudiant en Musicologie, pense que ce sacre lui a permis de prendre une décision importante sur sa vie. Désormais, dit-il, il va commencer sa carrière de chanteur lyrique.  Dans cette émission, nous vous proposons de faire la connaissance de ce jeune talent haïtien, riche en perspectives.   Également dans ce numéro : Dans la chronique Culture au féminin, nous présentons cette semaine l'artiste plasticienne haïtienne Barbara Prezeau Stephenson.   Musiques utilisées : - Angelord Blaise – Che faro senza Euridice (Interprétation faite lors de la finale du concours Voix des Outre-Mer, 10 janvier 2022) - BRAV - Koridò.

Iphigénie en Tauride is a 1779 opera by Christoph Willibald Gluck in four acts. It was his fifth opera for the French stage. The libretto was written by Nicolas-François Guillard.With Iphigénie, Gluck took his operatic reform to its logical conclusion. The recitatives are shorter and they are récitatif accompagné (i.e. the strings and perhaps other instruments are playing, not just continuo accompaniment). The normal dance movements that one finds in the French tragédie en musique are almost entirely absent. The drama is ultimately based on the play Iphigenia in Tauris by the ancient Greek dramatist Euripides which deals with stories concerning the family of Agamemnon in the aftermath of the Trojan War.Purchase the music (without talk) at:Gluck: Iphigénie en Tauride (classicalsavings.com)Your purchase helps to support our show! Classical Music Discoveries is sponsored by La Musica International Chamber Music Festival and Uber. @khedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber Please consider supporting our show, thank you!http://www.classicalsavings.com/donate.html staff@classicalmusicdiscoveries.com

Verne Windham talks to Dean Williamson, Conductor, and Dan Wallace Miller, Stage Director, about Inland Northwest Opera's upcoming performance of Christoph Willibald Gluck's "Orpheus & Eurydice." Performances take place Friday, October 29th, at 7:30 PM, and Sunday, October 31st, at 3pm at the Martin Woldson Theater at the Fox. For tickets and more information, visit .

Verne Windham talks to Dean Williamson, Conductor, and Dan Wallace Miller, Stage Director, about Inland Northwest Opera's upcoming performance of Christoph Willibald Gluck's "Orpheus & Eurydice." Performances take place Friday, October 29th, at 7:30 PM, and Sunday, October 31st, at 3pm at the Martin Woldson Theater at the Fox. For tickets and more information, visit .

Il 5 ottobre 1762 al Burgtheater di Vienna venne rappresentata l'azione teatrale "Orfeo ed Euridice", di Christoph Willibald Gluck. Sandro Cappelletto lo racconta a WikiMusic

In der neunten Episode führen unsere Ermittlungen direkt in die Welt der Oper. Gluck, Händel, Donizetti, sie alle haben Motive, Themen und Melodien verwendet, die es irgendwie und irgendwo schon gab. Wenn Händel sich wiederholt bei einer bereits existierenden Melodie bediente, meinte er, „wäre doch schade um die schöne Melodie!” Er war der Überzeugung: „die anderen wissen doch mit einer guten Melodie rein gar nichts anzufangen!” Wie kommt es, dass Gluck ausgerechnet bei Bach für seine Opern ein Motiv findet, obwohl Bach keine einzige Oper geschrieben hat? Forkel muss den Diebstahl bei Bach vorausgesehen haben, er bezeugt: „Noch in unserem Zeitalter wird sich ein junger Künstler Ehre damit erwerben können.” Ein Podcast von CRESCENDO in Kooperation mit der Deutschen Welle.

Un Día Como Hoy 2 de Julio: Nace: 1714: Christoph Willibald Gluck, compositor alemán (f. 1787). 1877: Hermann Hesse escritor alemán. 1923: Wislawa Szymborska, poetisa y traductora polaca, premio nobel de Literatura en 1996 (f. 2012). Fallece: 1566: Nostradamus, astrólogo y boticario francés (n. 1503). 1591: Vincenzo Galilei, laudista y compositor italiano (n. 1520). 1778: Jean-Jacques Rousseau, escritor, compositor y filósofo suizo (n. 1712). 1961: Ernest Hemingway, novelista, cuentista y periodista estadounidense, premio Nobel de literatura; suicidio (n. 1899). 1977: Vladimir Nabokov, novelista y crítico ruso (n. 1899). 1999: Mario Puzo, escritor y guionista estadounidense (n. 1920). 2007: Beverly Sills, soprano y personalidad televisión estadounidense (n. 1929). Una Producción de Sala Prisma Podcast. 2021

This weekend is a rarity for Introductions: a countertenor. 17-year-old Volodymyr Lymar is a senior at the Chicago High School for the Arts, and a student of Eric Miranda and Anna Kreynina. Volodymyr will sing music by Henry Purcell, Nicola Porpora and Christoph Willibald Gluck; a Ukrainian folk song; and something by the Ukrainian-US-Puerto Rican composer Jack Delano. Thanks to ... The post Volodymyr Lymar, 17, countertenor appeared first on WFMT.

En radikal reformator 1700-tals-operans motsvarighet till Richard Wagner. Pionjär också för Sturm & Drang och förebild för gustavianen Joseph Martin Kraus. Låtlista Ur Åsa-Nisse på hal is Gluck/Wagner, Ouverture ur Ifigenia & Aulis  Christoph Spering, Das Neue Orchester  Gluck/Scambati, ur Orfeus och Euridike för piano Yuja Wang  Orfeo e Euridike, Che puro ciel!   Renee Jacobs, Freiburger Barockorchester Alceste Ombres larves Ann-Sofie von Otter, John Eliot Gardiner  Joseph Martin Kraus: Symfoni i C, sats 3 Kammerorchester Basel, Giovanni Antonini  Joseph Martin Kraus: Funeral (Gustav III) Ragnar Ulfung  Ifigenia på Tauris Kör, Nicolai Gedda, Jessye Norman 

En radikal reformator 1700-tals-operans motsvarighet till Richard Wagner. Pionjär också för Sturm & Drang och förebild för gustavianen Joseph Martin Kraus. Lyssna på alla avsnitt i Sveriges Radio Play. Låtlista Ur Åsa-Nisse på hal is Gluck/Wagner, Ouverture ur Ifigenia & Aulis – Christoph Spering, Das Neue Orchester Gluck/Scambati, ur Orfeus och Euridike för piano – Yuja Wang Orfeo e Euridike, Che puro ciel! – Renee Jacobs, Freiburger Barockorchester Alceste ”Ombres larves” – Ann-Sofie von Otter, John Eliot Gardiner Joseph Martin Kraus: Symfoni i C, sats 3 – Kammerorchester Basel, Giovanni Antonini Joseph Martin Kraus: Funeral (Gustav III) – Ragnar Ulfung Ifigenia på Tauris – Kör, Nicolai Gedda, Jessye Norman

Seine erste Orpheus-Version brachte Christoph Willibald Gluck in Wien auf die Bühne. Doch erst seine Fassung für Paris sicherte ihm den Erfolg. Jetzt kam die Oper am Opernhaus in Zürich als Online-Premiere heraus, inszeniert von Christoph Marthaler. Robert Jungwirth mit einer Kritik.

Les Danaïdes is an opera by Antonio Salieri, in 5 acts: more specifically, it is a tragédie lyrique. The opera was set to a libretto by François-Louis Gand Le Bland Du Roullet and Louis-Théodore de Tschudi, who in turn adapted the work of Ranieri de' Calzabigi (without permission). Calzabigi originally wrote the libretto of Les Danaïdes for Christoph Willibald Gluck, but the aged composer, who had just experienced a stroke, was unable to meet the Opéra's schedule and so asked Salieri to take it over. Purchase the music (without talk) for only $2.99 at: http://www.classicalsavings.com/store/p526/Salieri%3A_Les_Dana%C3%AFdes.html Your purchase helps to support our show! Classical Music Discoveries is sponsored by La Musica International Chamber Music Festival and Uber. @khedgecock #ClassicalMusicDiscoveries #KeepClassicalMusicAlive #LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans #CMDGermanOperaCompanyofBerlin #CMDGrandOperaCompanyofBarcelonaSpain #ClassicalMusicLivesOn #Uber Please consider supporting our show, thank you! http://www.classicalsavings.com/donate.html staff@classicalmusicdiscoveries.com

In this episode, 2018 Honens Semifinalist Adela Liculescu performs Christoph Willibald Gluck's (arr. Sgambati) Melody in D minor from Orfeo ed Euridice and Domenico Scarlatti's Sonata in D minor K. 141 live at the 2018 Honens International Piano Competition.Watch the video edition of this excerpt at honens.com/home.

Violinist Vijay Gupta and pianist Peter Dugan perform "Dance of the Blessed Spirits" from Orfeo and Euridice by Christoph Willibald Gluck. This performance was recorded as part of From the Top episode 386 produced at the Wallis Annenberg Center for the Performing Arts in Beverly Hills, California.

Violinist Vijay Gupta and pianist Peter Dugan perform "Dance of the Blessed Spirits" from Orfeo and Euridice by Christoph Willibald Gluck. This performance was recorded as part of From the Top episode 386 produced at the Wallis Annenberg Center for the Performing Arts in Beverly Hills, California.

In the German, "Gluck" means luck, and today's date marks the birth anniversary of a German composer named Christoph Willibald Gluck, whose good fortune it was to be credited with "reforming" the vocally ornate but dramatically static form of Baroque opera. In the 18th century, opera was the biggest and most high-profile of all musical forms, and Gluck wrote 49 of them during his 67 years of life. Like many 18th century opera composers, the stories Gluck chose were often based on ancient Greek myths such as "Orpheus and Eurydice." It wasn't the matter of Gluck's operas that was revolutionary, but the manner in which he set these stories to music. When the British music historian Charles Burney visited Gluck in 1771, he recorded the composer's own words on the subject. "It was my design," said Gluck," to divest music of those abuses which the vanity of singers, or the complacency of composers, had so long disfigured Italian opera and made the most beautiful and magnificent of all public exhibitions into the most tiresome and ridiculous. It was my intention to confine music to its true dramatic province, of assisting poetical expression… without interrupting the action, or chilling it with useless and superfluous ornamentation." To sum it all up, Gluck told Burney, "My first and chief care as a dramatic composer was to aim at a noble simplicity."

In the German, "Gluck" means luck, and today's date marks the birth anniversary of a German composer named Christoph Willibald Gluck, whose good fortune it was to be credited with "reforming" the vocally ornate but dramatically static form of Baroque opera. In the 18th century, opera was the biggest and most high-profile of all musical forms, and Gluck wrote 49 of them during his 67 years of life. Like many 18th century opera composers, the stories Gluck chose were often based on ancient Greek myths such as "Orpheus and Eurydice." It wasn't the matter of Gluck's operas that was revolutionary, but the manner in which he set these stories to music. When the British music historian Charles Burney visited Gluck in 1771, he recorded the composer's own words on the subject. "It was my design," said Gluck," to divest music of those abuses which the vanity of singers, or the complacency of composers, had so long disfigured Italian opera and made the most beautiful and magnificent of all public exhibitions into the most tiresome and ridiculous. It was my intention to confine music to its true dramatic province, of assisting poetical expression… without interrupting the action, or chilling it with useless and superfluous ornamentation." To sum it all up, Gluck told Burney, "My first and chief care as a dramatic composer was to aim at a noble simplicity."

Una nueva forma para viajar, a traves de las grandes obras musicales del genero clasico. Conducido por Juan Fernando Villafuerte Ex colaborador de la Deutsche Welle de Alemania y la Elizabeth Trabanino, Directora de Radio Clasica, quienes a traves de una tertulia contaran las historias que se esconden detras de las operas a manera de poner en contexto al publico sobre el origen de estas grandes composiciones.

In this episode, we talk about the steps taken to find Lydia and Wickham, how much Darcy paid to get them married, the moral and social approach towards what Lydia has done, why Mrs Bennet thinks there will be a duel, the letter from Mr Collins, and Elizabeth's changing feelings towards Darcy.We discuss the character of George Wickham. Ellen talks about marriage settlements and marriage laws, and Harriet looks at how some modernisations of the book adapt the Lydia plot.We also revisit the subject of enclosures, in response to some feedback, and talk about social inequality and how it's not really addressed in Jane Austen's work.Things we mention: Books: W.C. Sellar and R.J. Yeatman, 1066 and All That: A Memorable History of England (1930)Flora Thompson, Lark Rise to Candleford (1939)The works of Charles Dickens (1812 – 1870)Curtis Sittenfeld, Eligible (2016) Claire LaZebnik, Epic Fail (2011) Also two books Eszter included in her comment to us, but which we didn't include in the recording:Guy Shrubsole, Who Owns England? (2019)Brett Christophers, The New Enclosure: The Appropriation of Public Land in Neoliberal Britain (2018)  Movies and television: BBC, Pride and Prejudice (1995) – starring Jennifer Ehle and Colin FirthBestboy Pictures, Pride and Prejudice: A Latter Day Comedy (2003) – starring Kam Heskin and Orlando Seale Pathé Pictures International, Bride and Prejudice (2004) – starring Aishwarya Rai and Martin Henderson YouTube, Lizzie Bennet Diaries (2012) – starring Ashley Clements and Daniel Vincent GordhCreative commons music usedExtract from Joseph Haydn, Piano Sonata No. 38. Performance by Ivan Ilić, recorded in Manchester in December, 2006. File originally from IMSLP.Extract from Wolfgang Amadeus Mozart, Sonata No. 13 in B-Flat Major, iii. Allegretto Grazioso. File originally from Musopen.Extract from George Frideric Handel, Suite I, No. 2 in F Major, ii. Allegro. File originally from Musopen.Extract from Christoph Willibald Gluck, Orfeo ed Euridice. File from IMSLP. Extract from Ludwig van Beethoven, Piano Sonata No. 28 in A major. File originally from Musopen. 

In this episode, we talk about the way Darcy is reintroduced into the narrative, Jane Austen's thoughts on architecture and landscaping, the possible connection between Pemberley and Chatsworth and how Georgiana Darcy is presented in a very different manner from Anne de Burgh.We discuss Elizabeth Bennet, perhaps Jane Austen's most popular heroine. Ellen talks about the landed gentry, and Harriet looks at how the film and television adaptations treat the visit to Pemberley – including the scene that is probably the best known in all the adaptations.Things we mention: Books:Donald J. Greene, ‘The Original of Pemberley' (1968), later collected in The Selected Essays of Donald Green (2004)John Mullan, What Matters in Jane Austen?: Twenty Crucial Puzzles Solved (2012)George Eliot, Middlemarch (1871)Popular culture:MGM, Pride and Prejudice (1940) – starring Greer Garson and Laurence OlivierBBC, Pride and Prejudice (1980) – starring Elizabeth Garvie and David RintoulBBC, Pride and Prejudice (1995) – starring Jennifer Ehle and Colin FirthFocus Features, Pride & Prejudice (2005) – starring Keira Knightley and Matthew MacfadyenBBC, Death Comes to Pemberley (2011) – starring Anna Maxwell Martin and Matthew RhysYouTube, Lizzie Bennet Diaries (2012) – starring Ashley Clements and Daniel Vincent GordhCreative commons music used Extract from Joseph Haydn, Piano Sonata No. 38. Performance by Ivan Ilić, recorded in Manchester in December, 2006. File originally from IMSLP.Extract from Wolfgang Amadeus Mozart, Sonata No. 13 in B-Flat Major, iii. Allegretto Grazioso. File originally from Musopen.Extract from George Frideric Handel, Suite I, No. 2 in F Major, ii. Allegro. File originally from Musopen. Extract from Christoph Willibald Gluck, Orfeo ed Euridice. File from IMSLP. Extract from Ludwig van Beethoven, Piano Sonata No. 28 in A major. File originally from Musopen. 

Few singers have more affected my life in a more fundamental way than the great Janet Baker. This episode seeks to pay humble tribute to that exceptional artist. I have sought long and hard to find repertoire and performances that my listeners might not have heard before. While this is not an exhaustive survey (methinks a second JB episode is lurking around the corner), I do touch on many of the cornerstones of her repertoire, including Ralph Vaughan Williams, Franz Schubert, Johannes Brahms, Johann Sebastian Bach, George Frideric Handel, Christoph Willibald Gluck, Gabriel Fauré, Dominick Argento, and Gustav Mahler. I also feature composers less often associated with her, including Edvard Grieg, Pyotr Il’yich Tchaikovsky, Hugo Wolf, and Peter Aston. Her musical collaborators represented in the episode include Martin Isepp, Paul Hamburger, Josef Krips, Rafael Kubelik, Colin Davis, Geoffrey Parsons, Anthony Lewis, and Michael Tilson Thomas, among others. I present to you The High Priestess of Song. (I also pay passing tribute to the Swedish mezzo-soprano Kerstin Meyer, who died this past week at the age of 92, and Dusty Springfield, whose 81st birthday we celebrated posthumously this week.) Countermelody is a podcast devoted to the glories of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great classical and opera singers of the past and present with the help of guests from the classical music field: singers, conductors, composers, coaches, agents, and voice teachers. Daniel’s lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody’s core is the interaction between singers of all stripes, their instruments, and the connection they make to the words they sing. Please visit the Countermelody website (www.countermelodypodcast.com) for additional content. And please head to our Patreon page at www.patreon.com/countermelody to pledge your support at whatever level you can afford.

In this episode, we talk about the two marriage proposals by Mr Collins, the precise timetabling of the events, and the matter of obedience to one's parents.We discuss Charlotte Lucas in some detail, and then Ellen talks about the ‘marriage market'. Harriet looks at where the two mini-series versions of Pride and Prejudice have their episode breaks in this section, the fact that in some versions Mr Bennet can see through Wickham, how Charlotte is presented in the 2005 movie, and her favourite song in Bride and Prejudice.Things we mention: Books:The works of Charlotte M. YongeLawrence Stone, The Family, Sex and Marriage in England, 1500-1800 (1977)Edward ShorterLaurence Sterne, A Sentimental Journey (1768)Henry MacKenzie, The Man of Feeling (1771)The works of Jean-Jacques RousseauThe US Declaration of IndependenceJoseph Addison and Richard Steele, The Spectator (1711-1712)Popular culture:BBC, Pride and Prejudice (1980) – starring Elizabeth Garvie and David RintoulBBC, Pride and Prejudice (1995) – starring Jennifer Ehle and Colin FirthFocus Features, Pride & Prejudice (2005) – starring Keira Knightley and Matthew MacfadyenPathé Pictures International, Bride and Prejudice (2004) – starring Aishwarya Rai and Martin Henderson ‘No life without wife'Creative commons music used Extract from Joseph Haydn, Piano Sonata No. 38. Performance by Ivan Ilić, recorded in Manchester in December, 2006. File originally from IMSLP.Extract from Wolfgang Amadeus Mozart, Sonata No. 13 in B-Flat Major, iii. Allegretto Grazioso. File originally from Musopen.Extract from George Frideric Handel, Suite I, No. 2 in F Major, ii. Allegro. File originally from Musopen. Extract from Christoph Willibald Gluck, Orfeo ed Euridice. File from IMSLP. Extract from Ludwig van Beethoven, Piano Sonata No. 28 in A major. File originally from Musopen. 

In this episode, we talk about the arrivals of Mr Collins and Mr Wickham, and the Netherfield Ball: we consider how Mr Bennet didn't give the family any warning about Mr Collins's arrival, the number of letters in the book, the amount of foreshadowing we've seen, how Wickham was able to fool Elizabeth, and Elizabeth's and Darcy's conversation while dancing.We discuss Mr Collins in some detail, and then Ellen talks about entails. Harriet looks at how Mr Colllins and Mr Wickham have been presented in the various film and television versions of Pride and Prejudice, and also how they deal with the Netherfield Ball.Things we mention: Books:Sheila Kaye-Smith and G.B. Stern, Talking of Jane Austen (1943) and More Talk of Jane Austen (1950) Illustrations:Illustration of Mr Collins by Philip Gough in a 1951 edition of Pride and Prejudice.Popular culture:MGM, Pride and Prejudice (1940) – starring Greer Garson and Laurence OlivierBBC, Pride and Prejudice (1980) – starring Elizabeth Garvie and David RintoulBBC, Pride and Prejudice (1995) – starring Jennifer Ehle and Colin FirthFocus Features, Pride & Prejudice (2005) – starring Keira Knightley and Matthew MacfadyenPathé Pictures International, Bride and Prejudice (2004) – starring Aishwarya Rai and Martin Henderson YouTube, Lizzie Bennet Diaries (2012) – starring Ashley Clements and Daniel Vincent GordhCreative commons music used Extract from Joseph Haydn, Piano Sonata No. 38. Performance by Ivan Ilić, recorded in Manchester in December, 2006. File originally from IMSLP.Extract from Wolfgang Amadeus Mozart, Sonata No. 13 in B-Flat Major, iii. Allegretto Grazioso. File originally from Musopen.Extract from George Frideric Handel, Suite I, No. 2 in F Major, ii. Allegro. File originally from Musopen. Extract from Christoph Willibald Gluck, Orfeo ed Euridice. File from IMSLP. Extract from Ludwig van Beethoven, Piano Sonata No. 28 in A major. File originally from Musopen. 

In this episode, we talk about Jane and Elizabeth's visit to Netherfield: we consider why Jane was invited, Darcy's feelings about Elizabeth, the types of conversations everyone has and what Darcy reads.We discuss Mr Bingley in some detail, including how he and Darcy might have met, and then Ellen talks about accomplishments. Harriet looks at how Mr Bingley has been presented in the various film and television versions of Pride and Prejudice.Things we mentionBooks:Sue Birtwistle, Sue Conklin, Susie Conklin, The Making of Pride and Prejudice (1995) Charles Dickens, Bleak House (1853)Hester Chapone, Letters on the Improvement of the Mind, Addressed to a LadyHannah More, Coelebs in Search of a Wife Georgette Heyer, Cotillion (1953) Popular culture:MGM, Pride and Prejudice (1940) - starring Greer Garson and Laurence OlivierBBC, Pride and Prejudice (1980) - starring Elizabeth Garvie and David RintoulBBC, Pride and Prejudice (1995) - starring Jennifer Ehle and Colin FirthFocus Features, Pride & Prejudice (2005) - starring Keira Knightley and Matthew MacfadyenPathé Pictures International, Bride and Prejudice (2004) - starring Aishwarya Rai and Martin Henderson YouTube, Lizzie Bennet Diaries (2012) - starring Ashley Clements and Daniel Vincent Gordh Curtis Sittenfeld, Eligible (2016) Creative commons music usedExtract from Joseph Haydn, Piano Sonata No. 38. Performance by Ivan Ilić, recorded in Manchester in December, 2006. File originally from IMSLP.Extract from Wolfgang Amadeus Mozart, Sonata No. 13 in B-Flat Major, iii. Allegretto Grazioso. File originally from Musopen.Extract from George Frideric Handel, Suite I, No. 2 in F Major, ii. Allegro. File originally from Musopen.Extract from Ludwig van Beethoven, Piano Sonata No. 28 in A major. File originally from Musopen.  Extract from Christoph Willibald Gluck, Orfeo ed Euridice. File from IMSLP. 

Hear 3 funny and interesting facts about Christoph Willibald Gluck’s opera Iphigenie in Tauris If you want to know more about opera, opera-Inside offers you everything your heart desires. Visit the opera blog WWW.OPERA-INSIDE.COM and learn interesting facts about famous operas. With beautiful YouTube Videos with the best singers like Luciano Pavarotti, Placido Domingo or Maria Callas.

Wenn Sie mehr über Opern wissen wollen, dann bietet Ihnen Opera-Inside alles was Ihr Herz begehrt. Besuchen Sie den Opern-Blog www.opera-inside.com und sie erfahren interessante Fakten zu berühmten Opern. Mit wunderschönen YouTube Videos der besten Interpreten wie zum Beispiel Luciano Pavarotti, Placido Domingo oder Maria Callas.

Panelen känner sig attackerad av en dansk mästares filmmusik, dividerar om smärtan i en ny Orfeus och Eurydike och gillar hur dirigenten Daniel Barenboim lyfter fram den dramatiska sidan hos Brahms. Veckans skivor: BRAHMS - THE SYMPHONIES Symfonier 1-4 av Johannes Brahms Berliner Staatskapelle, orkester  Daniel Barenboim, dirigent Deutsche Grammophon 4835251 Betyg: 4 WHIRL'S WORLD Musik av Per Nörgård MidtVest-ensemblen DaCapo 8.226136 Betyg: 5 ORFEO ED EURIDICE Opera av Christoph Willibald Gluck  Sångare: Iestyn Davies, Sophie Bevan La Nuova Musica, orkester och kör David Bates, dirigent Pentatone PTC 5186805 Betyg:4 Veckans val: Berlioz stora dödsmässa i allhelgonatid Vi fördjupar oss i amerikanske John Nelsons sprillans nya tolkning av Berlioz "Requiem" som spelades in i St Pauls Cathedral i London i mars. Referensen: Brahms fjärde symfoni - Det perfekta tempot Vi jämför Staatskapelle Berlin och Daniel Barenboims aktuella inspelning av Brahms symfonier med en äldre version, den inspelning som gjordes 1968 av Cleveland Orchestra under ledning av George Szell. Referensen: Klagoarian i Orfeus och Eurydike - Countertenor vs sopran Den älskade arian "Che farò senza Euridice" ur Glucks opera "Orfeus och Eurydike" har spelats in hur många gånger som helst och alla tänkbara sångare från Janet Baker till Pavarotti har sjungit den. Vi jämför den aktuella inspelningen med countertenoren Iestyn Davies med en inspelning från 1975 med den stora Dame Janet Baker, tillsammans med English Chamber Orchestra under ledning av Raymond Leppard. En svalt återhållen tolkning möter en romantisk, utlevande version av arian.

With Orfeo ed Euridice, Christoph Willibald Gluck turned to an ancient story to show that he could create a new kind of opera. Powerful music displays powerful emotion, and this story tells us that the strongest emotion of all is love. You may know the myth of Orpheus and Euridice, but this Classical opera presents a version of the story in which love and music team up to change the will of the gods. Hosted by Pat and guest co-host Petria.

The ancient Greek “Orpheus myth” has inspired a vast array of artistic works, and composer Christoph Willibald Gluck is known for contributing their own operatic interpretation to the canon. Gluck’s adaptation explores the profound nature of grief, the power of love, and the rousing spirit of redemption in our two young lovers, portrayed on the Metropolitan Opera stage by mezzo-soprano Jamie Barton and soprano Hei-Kyung Hong. In this episode of The Metropolitan Opera Guild Podcast, lecturer and music librarian Tanisha Mitchell guides us through Gluck’s elegant masterpiece

Circa continue their thrilling fusion of acrobatics with classical music and opera by teaming up with Opera Queensland for a new production of Orpheus and Eurydice, arts critic Tim Byrne reviews contemporary dance at this year's Melbourne International Arts Festival, Tony Award-winning director of Come from Away Christopher Ashley shares his Best Advice, we ask voice and dialect coach Leith McPherson whether we should affect accents on stage, and Open Homes, presented by La Boite, invites the public to step into a stranger's home and learn about their life.

Circa continue their thrilling fusion of acrobatics with classical music and opera by teaming up with Opera Queensland for a new production of Orpheus and Eurydice, arts critic Tim Byrne reviews contemporary dance at this year's Melbourne International Arts Festival, Tony Award-winning director of Come from Away Christopher Ashley shares his Best Advice, we ask voice and dialect coach Leith McPherson whether we should affect accents on stage, and Open Homes, presented by La Boite, invites the public to step into a stranger's home and learn about their life.

Als sein schwerstes und anstrengendstes Werk hat Christoph Willibald Gluck seine "Alceste" selbst bezeichnet. An der Bayerischen Staatsoper hatte die französische Fassung der Oper nun unter Leitung von Antonello Manacorda Premiere. Das Besondere: Neben den Sängerinnen und Sängern stand auch eine Tanzcompagnie auf der Bühne.

250 anni dalla prefazione dell' Alceste di Gluck che ha cambiato la storia dell'Opera

Opera was born during the Renaissance as an attempt to recreate the experience of an ancient Greek play as it would have been performed in the Theater of Dionysus in Athens. In this episode, Marc Eliot Stein and Lisa Geraghty talk about the greatest of several operas about one particular Greek myth: "Orfeo ed Euridice" by Christoph Willibald Gluck, which tells the story of the musician Orpheus's descent into the Underworld to retrieve his beloved wife Eurydice back from the dead. We also talk about Charlie Daniels Band, Arcade Fire, "Black Orpheus", Rainer Maria Rilke and Jacques Offenbach's wild satire "Orphee aux Enfers", a French comic opera that twisted Gluck's masterpiece into something entirely different. A refreshing descent into the joys of early classical opera!

Les Danaïdes is an opera by Antonio Salieri, in 5 acts: more specifically, it is a tragédie lyrique. The opera was set to a libretto by François-Louis Gand Le Bland Du Roullet and Louis-Théodore de Tschudi, who in turn adapted the work of Ranieri de' Calzabigi (without permission). Calzabigi originally wrote the libretto of Les Danaïdes for Christoph Willibald Gluck, but the aged composer, who had just experienced a stroke, was unable to meet the Opéra's schedule and so asked Salieri to take it over. ​ The plot of the opera is based on Greek tragedy and revolves around the deeds of the mythological characters Danaus and Hypermnestra. Dominique Beaulieu, conductor CMD Paris Philharmonic and Chorus of Orleans Purchase now at: http://www.classicalsavings.com/store/p526/Salieri%3A_Les_Dana%C3%AFdes.html

Una nueva forma para viajar, a traves de las grandes obras musicales del genero clasico. Conducido por Juan Fernando Villafuerte Ex colaborador de la Deutsche Welle de Alemania y la Elizabeth Trabanino, Directora de Radio Clasica, quienes a traves de una tertulia contaran las historias que se esconden detras de las operas a manera de poner en contexto al publico sobre el origen de estas grandes composiciones.

Arien aus Opern von Wolfgang Amadeus Mozart, Christoph Willibald Gluck, Giacomo Meyerbeer, Jacques Offenbach, Ambroise Thomas, Charles Gounod, Jules Massenet, Emmanuel Chabrier und Reynaldo Hahn | Marianne Crebassa (Mezzosopran) | Mozarteumorchester Salzburg | Leitung: Marc Minkowski

Rococo, 1714-1787: The Age of Enlightenment in the 18th century called into question the powers of the monarchy and religious dogma. There was an emphasis on scientific rigor and simplicity. This movement found its start in the writings of philosophers and made it ways into politics and eventually art – even the world of opera through the reforms of Christoph Willibald Gluck.

Franco Fagioli, Countertenor - Orfeo | Malin Hartelius, Sopran - Euridice | Emmanuelle de Negri, Sopran - Amor | Accentus | Insula Orchestra | Leitung: Laurence Equilbey

Deutscher Komponist der Vorklassik (1714 - 1787)

Arien für Giuseppe Millico (Kastrat) | Werke von Christoph Willibald Gluck und Antonio Sacchini | Valer Sabadus (Countertenor) | Chor des Bayerischen Rundfunks | Hofkapelle München | Leitung: Alessandro de Marchi

Daniel Behle (Tenor) | Armonia Atenea | Leitung: George Petrou

Man kennt Pietro Metastasio über die anderen, über Johann Adolf Hasse, Christoph Willibald Gluck und Wolfgang Amadeus Mozart. Eben die, die seine Texte durch ihre Musik berühmt machten. Wer aber war Metastasio? Ein früher Poetry Slammer?

Donald Macleod explores the life and music of Christoph Willibald Gluck, seen as having 'reformed' opera in the second half of the 18th century, rescuing it from the excesses of the opera seria style

This week is the other half of my conversation with Tuscan tenor Giorgio Berrugi. Our texts today are Christoph Willibald Gluck's "O del mio dolce ardor" and Petrarch's Sonnet 104, "Pace non trovo." We talk about whether or not to use glottals in Italian (spoiler-the answer is NO!), some irregular verbs you may run across, some standard suffixes with stressed E and the importance of knowing every meaning of your lines in an opera. You can find both texts for today at the Lied and Art Song Texts Page. "O del mio dolce ardor" is from the opera Paride ed Elena, a collaboration of Gluck and Ranieri de' Calzabigi, who also wrote the libretto for Orfeo ed Euridice. Francesco Petrarca's "Pace non trovo" is one of his sonnets to Laura, the married woman whom he loved--Wikipedia even has an entire section devoted to Petrarch and Laura. I also found a short essay on Liszt and Petrarch at a website entitled The Engines of our Ingenuity. The Lied and Art Song Texts Page lists "Pace non trovo" as Sonnet CXXXIV, but every other source that I found lists it in modern numerals as 104, so I've used that number on this episode. For people interested in reading some of the classic literature online, check out Project Gutenberg, Classic Authors dot Net or The Literature Page. Kindle for PC or MAC is also available as a free download from Amazon, if you would like books in that format but don't have a Kindle (I personally have this on my Netbook, so that I can carry it around with me). Anyone interested in studying more mythology can get started at Wikipedia's Roman Mythology and Greek Mythology pages, as well as Encyclopedia Mythica, Myth Web and Theoi Greek Mythology or check out Edith Hamilton's book Mythology. As always, please feel free to contact me here, through the Facebook page or directly at ellen@ellenrissinger.com with any questions or comments.

Gluck: Orfeo ed Euridice (excerpt) Beethoven: Piano Sonata in B-flat Major, Op. 106 (“Hammerklavier”)Today’s podcast features works by two composers who were committed to devising integrated musical forms in order to create compelling musical experiences. In his opera Orpheus and Eurydice, Christoph Willibald Gluck wanted to unify all elements of the work to create dramatic momentum. By simplifying flashy vocal techniques and making skillful use of orchestration, harmonies, and plot, he created a work that flows smoothly, allowing the audience to become thoroughly absorbed in the music and drama. We’ll hear a selection from the opera, arranged for flute and harp. Monumental in its structure, length, and sheer amount of musical material, Beethoven’s “Hammerklavier” Sonata is considered one of the most challenging in the piano repertoire. Though each movement has a distinctly different mood, Beethoven too was focused on creating an integrated musical form. Through skillful variation and fugal development, he was able to take a few small melodic units and spin them into a massive, yet elegant, musical structure.

¡Pásenle! Sean bienvenidos a un episodio más de El gringo viejo con mucha cuerda en el cual disfrutarás de discos antiguos de distintos géneros tocados en un fonógrafo de verdad con Scott Hadley, quien te ofrece un viaje sonoro al pasado... Escuchas Fantaisie-Impromptu Op. 66 de Chopin interpretada por el piano de Harold Victor Bauer. Del otro lado suena Caprice (On Airs de Ballet) de Christoph Willibald Gluck de la ópera Alcestes.