Podcasts about cibber

Today's poem (from an oft-maligned poet) makes frequent appearances in poetry anthologies for children, but hides a satisfying subtlety.Colley Cibber (6 November 1671 – 11 December 1757) was an English actor-manager, playwright and Poet Laureate. His colourful memoir An Apology for the Life of Colley Cibber (1740) describes his life in a personal, anecdotal and even rambling style. He wrote 25 plays for his own company at Drury Lane, half of which were adapted from various sources, which led Robert Lowe and Alexander Pope, among others, to criticise his "miserable mutilation" of "crucified Molière [and] hapless Shakespeare".He regarded himself as first and foremost an actor and had great popular success in comical fop parts, while as a tragic actor he was persistent but much ridiculed. Cibber's brash, extroverted personality did not sit well with his contemporaries, and he was frequently accused of tasteless theatrical productions, shady business methods, and a social and political opportunism that was thought to have gained him the laureateship over far better poets. He rose to ignominious fame when he became the chief target, the head Dunce, of Alexander Pope's satirical poem The Dunciad.Cibber's poetical work was derided in his time and has been remembered only for being poor. His importance in British theatre history rests on his being one of the first in a long line of actor-managers, on the interest of two of his comedies as documents of evolving early 18th-century taste and ideology, and on the value of his autobiography as a historical source. Get full access to The Daily Poem Podcast at dailypoempod.substack.com/subscribe

The late historian and writer, Jonathan Bardon on how the contralto, Susanna Cibber, came to perform in the premier of Handel's Messiah (Repeat)

A short poem about how only one thing matters in life....attitude....a positive attitude can overcome all difficulties..

Which of Natt's ancestors was the most cowardly? Why shouldn't you call your child Oceanus? Who was the worst Cibber? Jake Yapp & Natt Tapley find out in today's Date Fight!

This week Cathy and Eimear are joined by Niamh. Eimear attempts to tell the story of the scandalous Susannah Cibber.If you would like to support us please copy and paste the link below: https://www.patreon.com/operabluffsAll songs referenced can be found on our Spotify playlist:https://open.spotify.com/playlist/1cyMUXduglZlcOt7X6Dr7dAnd Instagram for all our visual references:https://www.instagram.com/operabluffs/Follow us on Twitter https://twitter.com/OBluffs

Mrs. Delaney, the good friend: Another woman who played an important role in Handel’s life was Mary Delaney or Mary Pendarves. The reason for calling attention to her in this advent calendar is that she had been trying to convince Handel for a long time that if he would only go to Dublin, everything was going to be alright. And she spoke from experience. For both Handel, Cibber and Mary Pendarves Dublin became the city of fresh starts.Music: Dunedin Consort ‘Handel’s Original Dublin Version 1742’

Susannah Cibber arrives in Dublin, and her performance is a big disaster - but then the viceroy asserts himself! When exactly Handel and Cibber first meet in Dublin, and at what point Handel decides to let her sing one of the most important parts of Messiah is unknown. Susannah Cibber had had singing parts since the beginning of her career, but she became famous for her acting. Her voice was described as ‘sweet’ and ‘exceptionally expressive’. However, it was untrained. And what was worse was that she could not read music. Even though Handel was known for not accepting any singers who were not able to sight-read, he made an exception for Susannah Cibber. Hour by hour, day by day he would go through the oratorio with Susannah Cibber until, finally, she knew her part by heart.

Vi har nu hørt en del om Susannah Cibber. En anden kvinde, som spillede en vigtig rolle i Händels liv, var Mary Delany. Når hun bliver fremhævet i denne kalender, er det fordi, hun længe havde forsøgt at overbevise Händel om, at hvis bare han tog til Dublin, så skulle alt nok blive godt. Og hun talte af erfaring. For både Händel, Cibber og Mary Delany blev Dublin byen, hvor man kunne begynde på en frisk.Musik: Dunedin Consort “Handel’s Messiah The Dublin Version” (læs mere under http://www.handelmessiah.dk/2017/11/24/the-music/)www.handelmessiah.dk

Susannah Cibber ankommer til Dublin og hendes forestilling er en ren katastrofe – men så træder vicekongen i karakter! Hvornår Händel og Cibber første gang træffer hinanden i Dublin, og hvornår Händel beslutter sig for at lade hende synge et af de vigtigste partier i Messias ved vi ikke. Siden begyndelsen af sin karriere havde Susannah Cibber haft syngeroller, men det var som skuespiller, hun var blevet berømt. Hendes stemme blev beskrevet som ”sød” og ”exceptionelt udtryksfuld”, men den var utrænet. Og hvad værre var, hun kunne ikke læse noder. Selvom Händel var kendt for slet ikke at kunne acceptere sangere, der ikke kunne synge fra bladet, så gjorde han altid en undtagelse med Susannah Cibber. Time efter time, dag efter dag, sad han og gennemgik oratoriet med Susannah Cibber, indtil hun til sidst kunne sit parti udenad.www.handelmessiah.dk

This is the first of two podcasts about the only public lunatic asylum in England for centuries: St Mary of Bethlehem Hospital in London, usually known as Bethlem. It symbolises the history of psychiatry. I want to look at the sort of image this institution had (and still has in the modern mind) and to assess if it is justified. I’ll explore what was special about Bethlem, whether it was typical of developing institutional provision, and what it really tells us about the way insanity was cared for in the past. This podcast asks: Was Bethlem a freak show? Was its administration chronically corrupt? Image of the week: Cibber’s statues at Bethlem Hospital, 1680 Full Bibliographic Record: Wellcome Library Catalogue L0011832 Copyrighted work available under Creative Commons Attribution only licence CC BY 4.0 creativecommons.org/licenses/by/4.0/

The last class on Pope (except there'll be a makeup on the Essay on Man in December).  The Dunciad and the reign of Dullness.  Theobald as "hero" of first Dunciad, Cibber as hero of second.  "Aristarchus" (i.e.: Pope) on the mock epic and its relation to the serious epic: how the parodic versions of wisdom, bravery, and love come to be vanity, impudence, and debauchery.  Pope's debauchery in an anecdote in Cibber's letter to Pope: Cibber saves him from peril atop a large prostitute.  Pope's cuttingness.  (The rhyme of "K *" and "sing".)  The fact that depth of soul goes with bitterness and despair, in both the Dunciad and in the amazing psychological acuity of Eloisa to Aberlard.