Podcasts about count almaviva

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)

When is the last time you witnessed the power of your own voice? Maybe you're like Benjamin, it was today, fool! Or maybe it's been while? Finding my own voice and starting this Flirtcast didn't come easily. I've struggled for most of my life to even just connect to my voice and that's the inspiration for this episode today. To hopefully help you in connect to your voice, find it if it's gone away, or perhaps discover it like you never have before. We welcome Nick Higgs the Singer to the show to guide us through the conversation as we talk about what hold us back from radiating our true voices, what we can do to overcome these blocks, and how we can bring more confidence to our conversations! Then we'll get into allll the flirting tips about how you can use your voice as in incredible tool to flirt. Not just with the words you say, but with tone, pitch, speed, volume, range, and more!  Finally, we'll wrap up with some anxiety practices and vocal exercises you can do when your tongue is tied and you feel like you might not be able to get the words out. Being able to express yourself, your needs and boundaries, and how you're feeling is wildly important in dating - and in all of your relationships. My hope with this episode is that you feel more connected to your voice and feel confident using it to communicate, have amazing conversations, and FLIRT! Enjoying the show and want to support my work? Buy the Flirt Coach a coffee! Then don't forget to subscribe, rate, and review Flirtations on your favorite podcast platform, and share this episode to spread BFE - big flirt energy, all over the world! About our guest:  Nicholas Higgs pursued his passion for music at the University of Toronto, where he earned both his Master's and Bachelor's degrees. Under the esteemed guidance of Professor Lorna MacDonald, he honed his skills and expanded his repertoire, showcasing his versatility in roles such as Count Almaviva in Mozart's Le Nozze di Figaro and Grigory in William Walton's The Bear. Other roles include Guglielmo (Così fan tutte), Abraham Kaplan (Street Scene), Papageno (Die Zauberflöte), and Curio (Giulio Cesare). Praised for his “rich and agile voice,” baritone Nicholas engages listeners as a performer, content creator, and educator. He recently served as the music director, as well as performed the role of the Escapologist, in a production of Matilda the Musical with Triple Threat Theatre in Lindsay, Ontario. Nicholas has made a significant impact as a content creator, amassing a dedicated following of over 450 thousand individuals across various social platforms. Through his online presence, he seeks to provide high-quality music education to his followers, firmly believing that everyone deserves the opportunity to sing. You can find Nicholas on social media at the username @nickhiggsthesinger. About your host:  Benjamin is a flirt and dating coach sharing his love of flirting and BFE - big flirt energy, with the world! A lifelong introvert and socially anxious member of society, Benjamin now helps singles and daters alike flirt with more confidence, clarity, and fun! As the flirt is all about connection, Benjamin helps the flirt community (the flirties!) date from a place that allows the value of connection in all forms - platonic, romantic, and with the self - to take center stage and transform lives for greater healing and deeper connections. You can connect with Benjamin on Instagram, TikTok, stream the Flirtations Flirtcast everywhere you listen to podcasts (like right here!), and find out more about working together 1:1 here.

The Follies of a Day by Pierre Beaumarchais audiobook. This is Thomas Holcroft's English translation, obtained by attending Pierre Beaumarchais' French play nine times in Paris during its original official staging in 1784. Beaumarchais' play was the basis for Mozart's 1796 opera, and is a satire about lovers' misdoings and French society. Because of its rebellious themes, presented during the troubling times leading up to the French Revolution, Beaumarchais had a very difficult time getting his play past the censors. Once staged, the play was enormously popular with audiences, including the aristocracy despite their understanding of the underlying themes. It was shocking that an commoner could contend directly with a nobleman. Louis XVI was not amused with Beaumarchais and imprisoned him for a few days. In our play, staged in London in 1785, Figaro is engaged to be married to Susan, who has caught the eye of Count Almaviva . . . (Holcroft Anglicized Suzanne's name so that English audiences would better accept her.) The Marriage is part of a trilogy, following The Barber of Seville and preceding The Guilty Mother. Learn more about your ad choices. Visit megaphone.fm/adchoices

The Barber of Seville by Pierre Beaumarchais audiobook. Count Almaviva's heart is stolen when he lays eyes on Rosine, but he worries that she will only love him for his money. Can Figaro help him? This comedy is the first play in Beaumarchais' Figaro trilogy. It was written in 1773, but because of political and legal problems, Beaumarchais could not stage the play until 1775. The Barber of Seville was adapted into at least five operas, the best-known being by Rossini. The other plays in the trilogy are The Follies of a Day: or the Marriage of Figaro and The Guilty Mother. Learn more about your ad choices. Visit megaphone.fm/adchoices

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

SynopsisToday we pay tribute to Pauline Viardot-Garcia, born in Paris on today's date in 1821. Her father was Manuel Garcia, the tenor for whom Rossini had written the role of Count Almaviva in “The Barber of Seville.” Her older sister was the legendary operatic diva Maria Malibran, a famous interpreter of operas by Bellini and Donizetti.Little Pauline wanted to be a piano virtuoso, and took lessons from Liszt, but at age 15 her mother decided she, too, should become a singer. Chopin adored her voice, and together they arranged some of his mazurkas as songs. Meyerbeer and Gounod wrote operatic roles for her. In 1860, with the composer himself at the piano croaking out the tenor part of Tristan, Pauline sang the role of Isolde at the first private reading of music from Wagner's “Tristan and Isolde,” and it was she who gave the premiere performance of Brahms' “Alto Rhapsody” in 1870.She married Louis Viardot, the director of the Theatre Italien in Paris, and at their home one was just as likely to meet Charles Dickens or Henry James as Berlioz or Tchaikovsky. She was also a composer of songs and chamber operas, which are receiving renewed attention.Music Played in Today's ProgramViardot-Garcia, Pauline (1821-1910) 12 Poems by Pushkin, Fet and Turgenev: No. 12. Les étoiles (Laetitia Grimaldi, sop; Ammiel Bushakevitz, pno) Bis 2546

Barton and Gabriel sit down to discuss the world of Opera, performance and Gabe's mindset of performing Internationally at the highest level.  Highlights from this podcast include: - Life lessons from his Voice Teacher Elizabeth Parham stating "that little voice in your head telling us we're not enough... that is the devil"- How Gabe thinks about performing for thousands of people- what type of things Gabe does to prepare himself for a big performance.- how the voice works and how he's able to create such powerful sound and sing professionally.  Gabriel's Bio: Multiple Grammy Award winning baritone Gabriel Manro has been called “a new kind of baritone: not lyric, not helden, not Kavalier, not Bariton-Martin — none of those. Rather, he's a knock-down baritone.” --San Francisco Classical Voice. Indeed, Manro regularly sings dramatic baritone roles such as Don Carlo di Vargas (La forza del destino), Andrei Shchelkalov (Boris Godunov), and Tonio (I Pagliacci) Opera News describes Manro as “Gifted with a striking, sinister baritone that remains strong, even and sonorous throughout the range, he tears into Verdi's music with a vengeance.” -- Opera News.Mr. Manro made his professional operatic debut as Third Inmate in Jake Heggie's ground-breaking opera Dead Man Walking for Opera Pacific with Frederica von Stade. He went on to perform the role of Inquisitor in Opera Pacific's Candide. Mr. Manro has appeared in numerous contemporary and world-premiere operas and musicals:As Muscovite Trader in John Corigliano's The Ghosts of Versailles (Pentatone Music: Grammy--Best Opera Recording), as the Mousling in the Los Angeles Philharmonic's Alice in Wonderland by Unsuk Chin, the Computer in Los Angeles Opera's The Fly by film composer Howard Shore (Lord of the Rings Trilogy); as The Chauffeur in Opera Santa Barbara's Séance on a Wet Afternoon by Stephen Schwartz (Wicked, Godspell); and as Angry Voter in Los Angeles Opera's Il Postino (Sony Classical DVD). Manro created the role of President Lincoln in Golden Gate Opera's world-premiere Civil War Epic: Lincoln and Booth. Off-Broadway, Mr. Manro led the original cast of Center for Contemporary Opera's production of Oration by Line Tjørnhøj. On television, Manro appeared as Joel Lynch and Father Jackson in the European premiere live telecast of William Mayer's: A Death in the Family at the Hungarian National Theater and Opéra Grand D'Avignon which was voted “audience favorite” opera.  Gabriel also played Jafar in Walt Disney Company's original stage production of Aladdin.Gabe's European operatic debut was as Doctor Bartolo (Il barbiere di Siviglia) with Corfu Opera in Greece. His extensive repertoire and engagements have also included the roles of Bluebeard (Bluebeard's Castle), Count Almaviva, Bartolo, Antonio (Le nozze di Figaro), Guglielmo, Don Alfonso (Cosí fan tutte), Don Giovanni (Don Giovanni). See Mr. Manro next as Osmund in the world-premiere stage production of Siegfried Wagner's Rainulf and Adelasia  during this summer's Bayreuth Festival in Germany.http://gabrielmanro.comhttp://instagram.com/g_manroBarton on Instagram https://www.instagram.com/bartonguybryan/Podcast Website is: https://www.podpage.com/the-mindset-forge-podcast/Join the Mindset Forge Premium membership for $3 / month (Donor Level) or $150 / month for Coaching: https://themindsetforge.supercast.com

Synopsis It was on this date in 1825 that the United States had its first date with authentic Italian opera. This was a performance of Gioacchino Rossini's The Barber of Seville, staged at New York City's Park Theatre. The singers were mostly from one extraordinary Spanish family—the Garcias—led by its patriarch Manuel Garcia, a tenor who performed role of Count Almaviva – the same role Garcia had created at the opera's premiere in Rome nine years earlier. The 1825 New York audience included luminaries from society and the arts—including the American novelist James Fenimore Cooper and Mozart's one-time librettist, Lorenzo da Ponte, who was teaching Italian at Columbia University in those days. November 29th is also important to 20th century American musical theater. Cole Porter's Gay Divorce opened on Broadway on November 29, 1932, at the Ethel Barrymore Theatre. The musical's title rankled censors who feared it treated divorce too lightly, and they insisted on converting it to the less controversial Gay Divorcee. Cole Porter's score included one of his classic songs, Night and Day, and, like Rossini before him, Porter claimed to have tailor-made this song for the unusual tenor star of his new show, one Fred Astaire. Music Played in Today's Program Gioacchino Rossini (1792-1868) selections from The Barber of Seville Academy of St. Martin in the Fields; Neville Marriner, conductor. Philips 412 266 Cole Porter (1891-1964) Gay Divorce Overture London Sinfonietta; John McGlinn, conductor. EMI 68589

There's a reason why The Barber of Seville remains one of the most popular operas in the world. Gioachino Rossini's comedic masterpiece never fails to delight audiences with its lively music, whirlwind romance, and inevitable happy ending.  Host Jane Trembley speaks with mezzo-soprano Emily Fons and tenor Jack Swanson about their approach to providing a fresh take on one of opera's most familiar tales. The pair also give advice to anyone encountering The Barber of Seville for the first time and share wisdom from their time in the Santa Fe Opera Apprentice Program for Singers. Plus, Jane learns all about playing Cards Against Humanity with like-minded company, traveling opera pets, and helping Kelsey Grammar out of a jam. “The one thing I like to say about The Barber of Seville is that it's one of those operas where they really got the story right,” Jack says. “It's so easy to follow no matter what time period, no matter what costumes they're wearing, no matter what props they're using.” Who better to evaluate Rossini's genius than a performer who's played Count Almaviva in guises ranging from a 19th-century nobleman to a modern-day rockstar?  Emily, too, has appeared in multiple productions of this classic comedy. Her understanding of Rosina, the sparkling, rebellious recipient of Almaviva's affections, and the opera's themes have evolved along the way. “That's been my journey over time,” she explains, “from being bogged down in what I thought people's expectations were to finding how I wanted to tell this story.” As for returning to SFO, both Emily and Jack agree that no other organization is as supportive of apprentices and pros alike. “Thank you,” Emily says, “to the Santa Fe Opera and all those really special people.”  CREDITS Hosted by Jane Trembley Featuring: Emily Fons - Mezzo-Soprano Website Instagram Facebook Jack Swanson - Tenor Website Instagram Facebook CREDITS Destination Santa Fe Opera is a Santa Fe Opera podcast, produced and edited by Andrea Klunder at The Creative Impostor Studios. Post-Production Audio: Edwin R. Ruiz Hosted by: Jane Trembley Show Notes by: Lisa Widder *** Learn more about the Santa Fe Opera and plan your visit at http://www.santafeopera.org. We'd love for you to join us on Instagram, Twitter, Facebook, and TikTok @santafeopera.

Cass loves singing and connecting with people, and she believes that experiencing the power of the human voice can initiate emotional catharsis, joy, transformation, inspiration, and even healing. she was fortunate to grow up in a small community where the traditions of storytelling and music-making run deep. As a child, Cass would go to ceilidhs – parties – and the live music would prompt everyone in the room to jump up and step dance or square dance, joining in the fun. Cass has kept this love of music with her as she studied classical singing and embarked on her own professional performing career. She considers herself lucky to have been influenced by this kind of musical spontaneity and interactive enjoyment from a young age. Her performing philosophy is based on these early life experiences, emphasizing personal interaction and connection, joy, and healing through sharing beautiful vocal music. Torlef Borsting's powerful baritone fuses with sensitivity, compassion, and lyricism to lend a musical and dramatic depth to characters such as Scarpia in Tosca, Germont in La Traviata, Sharpless in Madama Butterfly, and Jack Rance in La Fanciulla del West. His is a voice ideal for the commanding presence of Verdi, the emotional swell of Puccini, the flexibility and movement of Donizetti, and the nuance of Mozart. Other leading roles in his repertoire include Count Almaviva in Le nozze di Figaro, Prince Yeletsky in Tchaikovsky's The Queen of Spades, Dr. Bartolo in Rossini's Il Barbiere di Siviglia, Leporello in Don Giovanni and Horace Tabor in The Ballad of Baby Doe, where his vocal prowess was lauded by East Bay Times as having “appropriate gusto…[moving] convincingly from rowdy full-voice banter at the saloon with his pals to sotto voce crooning to Baby Doe.” A native of Hawaii, Torlef has spent most of his time on the West Coast, performing leading and supporting roles with companies including San Francisco Opera, Opera Parallèlle, West Bay Opera, Sacramento Opera, Opera San Jose, Livermore Valley Opera, Opera San Luis Obispo, Berkeley Opera,and others. In concert, he has performed as a soloist with Pacific Chamber Symphony, Mendocino Music Festival, Oakland Symphony Chorus, Symphony Parnassus, Cantare con Vivo, and Oakland Civic Orchestra. In 2018, Torlef made a move across the country with his family to Florida, where he now resides. He has since made company debuts with Opera Orlando, Indianapolis Opera, New York City Opera, and looks forward to his first dive into Wagner's Ring Cycle in the summer of 2022 with Tundi Productions in Brattleboro, VT. Torlef's foray into classical singing happened almost by chance; a series of events and an assignment to watch Le nozze di Figaro saw him shift from being a low brass performer at the end of his undergraduate degree studies to being fully-committed toward becoming an opera singer.

This is Thomas Holcroft's English translation, obtained by attending Pierre Beaumarchais' French play nine times in Paris during its original official staging in 1784. Beaumarchais' play was the basis for Mozart's 1796 opera, and is a satire about lovers' misdoings and French society. Because of its rebellious themes, presented during the troubling times leading up to the French Revolution, Beaumarchais had a very difficult time getting his play past the censors. Once staged, the play was enormously popular with audiences, including the aristocracy despite their understanding of the underlying themes. It was shocking that an commoner could contend directly with a nobleman. Louis XVI was not amused with Beaumarchais and imprisoned him for a few days. In our play, staged in London in 1785, Figaro is engaged to be married to Susan, who has caught the eye of Count Almaviva . . . (Holcroft Anglicized Suzanne's name so that English audiences would better accept her.) The Marriage is part of a trilogy, following The Barber of Seville and preceding The Guilty Mother. Pierre Beaumarchais (1732 - 1799) Genre(s): Comedy, Satire Language: English --- Support this podcast: https://anchor.fm/3daudiobooks0/support

Ian Rucker is a baritone from Oshkosh, WI, under the tutelage of Carol Vaness. Ian graduated with his Masters Degree in Vocal Performance from Indiana University's Jacobs School of Music last spring. He is coming to Palm Beach Opera after a summer as a Renée Fleming Artist at the Aspen Summer Music Festival. He lived in Aspen, Colorado for two months and was featured in weekly masterclasses, concerts, and recitals. It was there that he was able to work with many well-renowned performers, coaches, and conductors in the opera, classical music, and musical theatre community. Ian was an avid performer at the Jacobs School of Music, being featured as Count Almaviva in The Marriage of Figaro in 2019, Figaro in The Barber of Seville in 2020, and most recently Papageno in The Magic Flute in September of 2021. It was at his undergrad at the University of Wisconsin - Eau Claire, under the instruction of Kenneth Pereira, that he found his love for the spotlight. He performed roles in both Opera and Musical Theatre productions: The title roles in both Don Giovanni and Sweeney Todd, Officer Lockstock in Urinetown, and Ernst Ludwig in Cabaret. Within the past year, Ian has had some success in vocal competitions. He was awarded an Encouragement Award in the Metropolitan Opera National Council Audition - WI District, and took 1st place in the James Toland Vocal Arts Competition. He is glad to be back on stage performing for an audience. After such a hard year, it is such a breath of fresh air to see the arts alive and well! You can check out Ian's website by clicking here! Episode Music; Don Giovanni, K527 - Ouvertura-1248; Gunther Hasselmann --- Support this podcast: https://podcasters.spotify.com/pod/show/musicast-podcast/support

In this episode, James is joined by several of the artists and creatives who are working on the latest editions to our 2021 Season. Anna Patalong and Sonia Ben Santamaria talk about Canteloube's Chants d'Auvergne, and how OHP is a fitting venue for this song cycle themed around returning to nature. Charne Rochford discusses the birth of Fifth Door Ensemble as they prepare for an intimate chamber version of Gustav Mahler's late masterpiece Das Lied von der Erde. Dominic Ellis-Peckham and Tara Mack look towards the London Oriana Choir taking the stage for an exciting evening featuring two world premières. The episode concludes with an appearance by our Count Almaviva in our latest production of The Marriage of Figaro, Julien Van Mellaerts, who has curated and is featured in our upcoming recital series, Opera in Song. Tickets for the Opera Holland Park 2021 Season are on sale now. Find out more about our productions and book here: bit.ly/2KCxmX1 From the Producer's Office is a series of informal podcasts with Opera Holland Park's Director of Opera, James Clutton. In conversation with creatives and collaborators across the industry, we explore the process of putting opera on stage, and how the artists involved approach their craft.

Maybe you’ve heard this one before: a powerful man abuses his privilege and wealth to exploit the women in his life. When confronted with the fact that they’re not his playthings, he throws a fit and blames everyone but himself. Sound like your daily news alert? It’s Mozart’s The Marriage of Figaro, but somehow the world of feudal Spain in the 1700s is still distressingly familiar today.  The aria “Hai già vinta la causa” traces the emotions of the aristocratic and imperious Count Almaviva when he realizes that his wife and servants have been plotting his comeuppance. Filled with rage that they won’t bend to his will, the Count offers up one of the great temper tantrums in opera history. And don’t be surprised if the Count’s anger gives you flashbacks to headline news from the very recent past. The Guests: Bass-baritone Gerald Finley spent the first decade of his career playing the wily factotum Figaro, and now he sings the controlling Count Almaviva in opera houses around the world. He loves throwing himself into the fire and fury in this aria, but also holds tight to the belief that the Count is truly repentant in the end. Professor Sharon Marcus teaches English and comparative literature at Columbia University. When it came to music, her mother insisted that she grow up listening to classical. She first met the Count in The Marriage of Figaro when she was still in grade school. Laura Bassett is a freelance journalist and an opinion columnist for MSNBC. She originally wanted to be an academic. but the 2008 presidential election convinced her that she needed to be writing stories about the national conversations we're having today. She's written extensively about abuses of power in politics and the instances of sexual harassment that have dominated headlines in recent years.

Chances are, you know the overture to The Barber of Seville (maybe from Bugs Bunny?!) but Gioachino Rossini’s most famous opera is more than a comedic romp. Embedded in the topsy-turvy tale of young love and silly disguises, there is a story of forced marriage and a woman’s determination to live a life of her choosing.  We meet the heroine Rosina for the first time in the aria “Una voce poco fa,” in which she declares that while she may seem sweet and innocent, she is really not someone to be messed with. Host Rhiannon Giddens and her guests explore the courage it takes to live life on your own terms and the way this almost absurd story pulled from a centuries-old novel still resonates today. You’ll hear how one guest has her own escape-from-a-forced-marriage story that uncannily matches Rosina’s.The Guests: Soprano Pretty Yende first sang the role of Rosina in Norway in 2014, and it’s since become one of her favorite roles. She loves playing Rosina because the character is fun, witty, and unlike so many operatic heroines, she gets to hit all the high notes and live happily ever after. Conductor James Conlon is Music Director of the Los Angeles Opera. He first heard The Barber of Seville when he was 11 years old and fell in love on the spot. Later that summer, he made his debut as director, producer, and Count Almaviva in his friend’s garage, with a very appreciative audience lined up in the driveway. Activist Jasvinder Sanghera is a survivor of forced marriage. She has spent the last four decades advocating for women, children, and men silenced by domestic abuse and forced marriages, and founded the award-winning charity Karma Nirvana in 1993. 

Episode: 1984 Burt Rutan's airplanes: You may go dancing, by I'll play the tune.  Today, you may go dancing, but I'll play the tune.

The Marriage of Figaro, K. 492, is an opera buffa (comic opera) in four acts composed in 1786 by Wolfgang Amadeus Mozart, with an Italian libretto written by Lorenzo Da Ponte. It premiered at the Burgtheater in Vienna on 1 May 1786. The opera's libretto is based on a stage comedy by Pierre Beaumarchais, La folle journée, ou le Mariage de Figaro, which was first performed in 1784. It tells how the servants Figaro and Susanna succeed in getting married, foiling the efforts of their philandering employer Count Almaviva to seduce Susanna and teaching him a lesson infidelity. Purchase the music (without talk) at: http://www.classicalsavings.com/store/p728/Mozart%3A_The_Marriage_of_Figaro.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

The Marriage of Figaro, K. 492, is an opera buffa (comic opera) in four acts composed in 1786 by Wolfgang Amadeus Mozart, with an Italian libretto written by Lorenzo Da Ponte. It premiered at the Burgtheater in Vienna on 1 May 1786. The opera's libretto is based on a stage comedy by Pierre Beaumarchais, La folle journée, ou le Mariage de Figaro, which was first performed in 1784. It tells how the servants Figaro and Susanna succeed in getting married, foiling the efforts of their philandering employer Count Almaviva to seduce Susanna and teaching him a lesson in fidelity. Purchase the music (without talk) for only $2.99 at: http://www.classicalsavings.com/store/p728/Mozart%3A_The_Marriage_of_Figaro_%28digital_download%29.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 Support us on Patreon https://www.patreon.com/user?u=4186107 staff@classicalmusicdiscoveries.com

Benjamin Fifita Makisi was born in Wellington, NZ and is of Tongan and Samoan descent. He began singing at a young age with the Tongan Wesley Methodist church choir in Wellington. He graduated with a Master of Performance (Opera) with High Distinction from the University of Sydney Conservatorium of Music and a Bachelor of Music (Performance) from Victoria University Wellington. He had also received his tutoring in New York, London and in Italy.   He was a semi-finalist at the Vinãs Concourso Internationale in Barcelona, Spain 2005. He was the winner of the prestigious Sydney McDonalds Eisteddfod Aria in 2002. He was winner of the NZ Aria (Rotorua) in 2001. He was awarded creative arts NZ Iosefa Enari Memorial Award in 2002.   His concert performances include performances with Operatunity ‘Viva Italia’ NZ Tour and Operatif in Brisbane, Australia; Government House Dominion Post Summer Pops 2012; Government House Gardens Auckland 2011; The Tenor Soloist in BRITTENS Les Illuminations for Wellington Vector Orchestra 2009; the Third Jew in Salome by STRAUSS with the Auckland Philharmonia 2008; Christchurch Symphony Orchestra Opera Gala in 2007.   He has performed for TVNZ Media Awards, Westfield Style Pasifika, NZ Pacific Island Sports Award, NZ Samoan Sports Awards and has sung the National Anthem for the All Blacks.   He has performed alongside Dame Kiri Te Kanawa and has performed with Dame Malvina Major, Sir Donald McIntyre and the Late Sir Howard Morrison. He had also sung for the State funeral of Sir Edmund Hillary broadcasted all around the world.   Benjamin has also travelled extensively and performed in concerts in New York, London, Tuscany, Barcelona, London, Hong Kong, Sydney, Melbourne, Brisbane and the Pacific Islands.   He recently performed the role of Abdallo in Nabucco by VERDI for Auckland Philharmonia Ochestra – Opera in Concert and Leicester in Maria Stuarda by DONIZETTI for Days Bay Opera, Wellington; the Narrator in Berlioz L'enfance du Christe for Bach Musica Viva in Auckland; St Nicholas by BRITTEN for Nota Bene in Wellington; the Tenor Soloist in Carmina Burana by ORFF for Auckland Philharmonia Orchestra and Conte Libenskof in The Journey to Rheims by ROSSINI for Days Bay Opera 2010; Edgardo in Lucia di Lammermoor by DONIZETTI for Opera Australia 2008; Pang in Turandot by PUCCINI and Arturo in Lucia di Lammermoor by DONIZETTI for NBR NZ Opera 2007; Ferrando in Cosi Fan Tutte by MOZART 2004 and Count Almaviva in Barber of Seville by ROSSINI 2003 for NBR NZ Opera Tour. He also performed the role of Prisoner/Muleteer/Turkish Moor alongside Anthony Warlow and Caroline O'Connor in the musical Man of La Mancha by WASSERMAN 2002   INTERNATIONAL COMPETITIONS & AWARDS   2005                Semi Finalist      Francesco Viñas Int’l Concourso           Barcelona, Spain                         Recipient           Willi Fels Memorial Award                    New Zealand See omnystudio.com/listener for privacy information.

NOW AVAILABLE ON FOWL PLAYERS RADIO!!! https://fowlplayersradio.buzzsprout.comWe welcome award winning baritone Keith Harris!!I first met Keith Harris about 8 years ago when we performed together in "The Music Man" at Baltimore Actors' Theatre, when he played the part of Prof. Harold Hill.He is an award winning opera singer, and has performed in almost every state of the union and in several countries overseas.He has appeared in The Merry Widow, Faust, Werther, and Lulu with The Metropolitan Opera; the role of Valentin in Faust with Toledo Opera and Annapolis Opera; the creation of the role of Sir Plume in the world première of The Rape of the Lock at New York Opera Fest; Silvio in Pagliacci with Opera Tampa; Albert in Werther with Mobile Opera; and the roles of Count Almaviva in Le nozze di Figaro and Dandini in La Cenerentola with Bar Harbor Music Festival, where he subsequently returned for a Tea Concert and pops concert for their 50th Anniversary.He has appeared with the Seattle Opera, Santa Fe Opera, Opera Theatre of Saint Louis, Holders Festival in Barbados, Nevada Opera, Opera of East Texas, El Paso Opera, and Skagit Opera. Other roles in clude Guglielmo in Così fan tutte, Figaro in Il barbiere di Siviglia, Papageno in Die Zauberflöte, and Athanaël in Thaïs. In musical theatre, he has performed as Billy Bigelow in Carousel, Anthony Hope in Sweeney Todd, Pirate Bras Pique in Naughty Marietta, and The Music Man with Baltimore Actors’ Theatre. Internationally, he performed the role of Journalist in Lulu at Teatro Comunale di Bologna and often performs many roles with The Festival lyrique international de Belle-Île en Mer in France, including Belcore in L’elisir d’amore, Iago in Otello, Ford in Falstaff, and, most recently, Tonio in Pagliacci.He has performed at Carnegie Hall for the world première of David N. Child’s Requiem, in Hayes’s Te Deum, Haydn’s Lord Nelson Mass, Orff’s Carmina Burana, and Rutter’s Mass of the Children. With New Jersey Choral Society, he sang Fauré’s Reqiuem, and with both New Jersey Choral Society and Connecticut Choral Society he sang Haydn’s Heiligmesse and Ed Lojeski’s Psalms of Passover. Other highlights include the roles of Morales and Le Dancaïre in Carmen with Pacific Symphony; the baritone solo in Beethoven’s Symphony No. 9 with New Haven Symphony, Lancaster Symphony, and National Chorale at Avery Fisher Hall; Karsa’s Brudibar with Phoenix Symphony; Händel’s Messiah with East Texas Symphony Orchestra; Gerald Finzi’s In Terra Pax with Dessoff Choirs under the baton of James Bagwell; Argento’s Andrée Expedition with Emerson Series in Wisconsin with pianist Kenneth Bozeman; Carmina Burana with Savannah Philharmonic, Lancaster Symphony, Riverside Choral Society at Alice Tully Hall, and National Chorale at Lincoln Center; Stephen Paulus’ So Hallow’d Is the Time with Greenwich Choral Society; and the world première of Morning Has Broken arranged by Bob Chilcott.So, he's pretty good.www.keithharris.netSubscribe for free on Apple Podcasts, Google Podcasts, Stitcher, Spotify, iHeart Radio, Overcast, Pocketcast, Castro, Cast Box, or here- https://fowlplayersradio.buzzsprout.comFollow us on Facebook or on twitter @fowl_radio

The most famous Mad Scene in Opera!For marriage of Figaro. Figaro is to married to Susanah, but Count Almaviva wants to bed her first. Can Figaro thwart his master's dastardly intentions?

The most famous Mad Scene in Opera! For marriage of Figaro. Figaro is to married to Susanah, but Count Almaviva wants to bed her first. Can Figaro thwart his master's dastardly intentions?

When your spouse cheats, your mind starts racing with a million questions. For the Countess Almaviva, one of them is: What happened to the spark we had and how can we get it back? The Countess lives inside Mozart’s The Marriage of Figaro (Le Nozze di Figaro in Italian) and her philandering husband, the Count Almaviva, is due for a major comeuppance from his wife and her servant. But the Countess isn’t fixed on vengeance; she’s wondering how she can recapture the romance in her marriage. In this episode, host Rhiannon Giddens and her guests offer relationship advice to the heartsick Countess Almaviva. They focus on her aria “Dove sono,” a quiet moment of reflection when the Countess asks, “Where are the lovely moments?” You’ll hear how Mozart musically brings you inside the Countess’s thoughts, how hard it is to sing that music and why rekindling a romance is something many of us will face. Plus, you’ll hear Susanna Phillips sing the aria onstage at the Metropolitan Opera. The Guests Susanna Phillips has sung the role of the Countess more than any other in her career. She isn’t sure whether the Countess will ever be able to forgive her husband’s dalliances, but she may find out this season when she reprises the role at the Met. Cori Ellison is a dramaturg and a repeat guest on Aria Code. She believes that Mozart had a special gift both for understanding the human condition and sharing those insights through opera. Dan Savage is a sex and relationship advice columnist and podcaster. Like Mozart, he believes that infidelity is a real part of the human condition. He’s less optimistic about the Count’s ability to be faithful when the curtain closes. If you’re interested in going a little deeper on cheating and infidelity, our friends at the podcast Death, Sex, and Money have a whole episode about it! You’ll hear from men and women who’ve cheated and been cheated on, and how it made some of them more honest in their relationships. Subscribe to Death, Sex, and Money wherever you get your podcasts. 

Canadian tenor Josh Lovell is a perspective young vocalist, well known in Ottawa, Chicago and now Vienna, where his professional journey continues. Stanford Olsen. Previously, he was a student of Benjamin Butterfield at the University of Victoria. Josh Lovel is a winner at the 52nd Annual International Vocal Competition, Dallas Opera competition and was a 2017 semi-finalist with the Metropolitan Opera National Council Auditions. His repertoire consists of such roles as Trojan in Idomeneo, Odoardo in Ariodante, Le Doyen de la Faculté in Cendrillon, The Emperor Altoum in Turandot, Orpheo in Orphée et Eurydice, Count Almaviva in Il Barbiere di Siviglia, Don Ottavio in Don Giovanni, etc. Musicologist Ona Jarmalavičiūtė has conducted an interview with a singer on such topics as antique mythology, the impact of the opera to the society and the struggles with funding.

In 1825 Rossini wrote his opera The Barber of Seville, in just 13 days! For two hundred years, this opera has been incredibly popular, and it's no surprise as the music and the comedy are fantastic. On June 6th 2019 New Zealand Opera debuts its production of The Barber of Seville in Auckland - it will then move to Wellington and conclude in Christchurch. A few days ago, I had the good fortune of meeting the stars of the show - Tenor John Tessier who plays Count Almaviva and Sandra Piques Eddy who plays his love interest Countess Rosina. Don't forget to check out my website andrewwhiteside.com for more interviews and news.

“Figaro, Figaro!” This Rossini classic features one of the most well-known pieces of music in history. This prequel to THE MARRIAGE OF FIGARO tells the story of how Count Almaviva wins the hand of his beloved Rosina with the help of his clever barber, Figaro. Full of laughter and beautiful music, see why THE BARBER OF SEVILLE has delighted audiences for more than two centuries. Explore Rossini's THE BARBER OF SEVILLE with hosts Arthur White and Andrea Scobie. Gioachino Rossini The Barber of Seville November 10-18, 2018 Tickets: www.michiganopera.org Michigan Opera Theatre’s OperaHERE Podcast is your introduction to the performances seen onstage at the Detroit Opera House. Dive into the tragedy, comedy, and beautiful music of opera with our hosts and special guests, and prepare yourself for a dazzling night at the opera. The OperaHERE Podcast is produced by Jake Neher in the studios of WDET.

Sopranos Sarah Shafer and Caitlin Lynch sing the roles of Susanna and the Countess Almaviva, respectively, in our production of The Marriage of Figaro. Ms. Lynch catches up on Rosina a few years into her role as the wife of Count Almaviva and Ms. Shafer lets us in a bit on the back story of Susanna, the Count's current target for seduction. The plot thickens in this conversation with two wonderful debut artists in this Mozart classic. Enjoy!

Bass-baritone Evan Hughes and baritone John Moore play Figaro and Count Almaviva, respectively, in our upcoming production of Mozart's The Marriage of Figaro. In this wonderful conversation with Nic Reveles they talk about their careers, their roles and the contributions of the author of the plays that this opera (and Rossini's The Barber of Seville) are based on: Pierre-Augustin Caron de Beaumarchais. These singers also find a lot in this opera for us to think about in terms of current affairs. Enjoy! 

UCSB’s award-winning Opera Theatre program presents Wolfgang Amadeus Mozart’s beloved opera buffa, Le Nozze di Figaro (The Marriage of Figaro). Opera Santa Barbara’s General and Artistic Director, Kostis Protopapas,conducts the production, with Isabel Bayrakdarian (UCSB Assistant Professor of Voice) serving as Stage Director and Benjamin Brecher (UCSB Professor of Voice) serving as Music Director and Producer. The opera features many of the program’s top graduate students, including Tyler Reece as Count Almaviva, Julie Davies as Countess Almaviva, Naomi Merer as Susanna, Byron Mayes as Figaro, and Kelly Newberry as Cherubino. Series: "Soundscape" [Arts and Music] [Show ID: 33667]

UCSB’s award-winning Opera Theatre program presents Wolfgang Amadeus Mozart’s beloved opera buffa, Le Nozze di Figaro (The Marriage of Figaro). Opera Santa Barbara’s General and Artistic Director, Kostis Protopapas,conducts the production, with Isabel Bayrakdarian (UCSB Assistant Professor of Voice) serving as Stage Director and Benjamin Brecher (UCSB Professor of Voice) serving as Music Director and Producer. The opera features many of the program’s top graduate students, including Tyler Reece as Count Almaviva, Julie Davies as Countess Almaviva, Naomi Merer as Susanna, Byron Mayes as Figaro, and Kelly Newberry as Cherubino. Series: "Soundscape" [Arts and Music] [Show ID: 33667]

UCSB’s award-winning Opera Theatre program presents Wolfgang Amadeus Mozart’s beloved opera buffa, Le Nozze di Figaro (The Marriage of Figaro). Opera Santa Barbara’s General and Artistic Director, Kostis Protopapas,conducts the production, with Isabel Bayrakdarian (UCSB Assistant Professor of Voice) serving as Stage Director and Benjamin Brecher (UCSB Professor of Voice) serving as Music Director and Producer. The opera features many of the program’s top graduate students, including Tyler Reece as Count Almaviva, Julie Davies as Countess Almaviva, Naomi Merer as Susanna, Byron Mayes as Figaro, and Kelly Newberry as Cherubino. Series: "Soundscape" [Arts and Music] [Show ID: 33667]

UCSB’s award-winning Opera Theatre program presents Wolfgang Amadeus Mozart’s beloved opera buffa, Le Nozze di Figaro (The Marriage of Figaro). Opera Santa Barbara’s General and Artistic Director, Kostis Protopapas,conducts the production, with Isabel Bayrakdarian (UCSB Assistant Professor of Voice) serving as Stage Director and Benjamin Brecher (UCSB Professor of Voice) serving as Music Director and Producer. The opera features many of the program’s top graduate students, including Tyler Reece as Count Almaviva, Julie Davies as Countess Almaviva, Naomi Merer as Susanna, Byron Mayes as Figaro, and Kelly Newberry as Cherubino. Series: "Soundscape" [Arts and Music] [Show ID: 33667]

Siyabonga Maqungo – a young South African tenor (28) all the way from a township of Katlehong in Johannesburg Gauteng province. Siyabonga has been singing all of his life since at a very young age. In Season 2015/16 he started his first engagement as an ensemble member in Staatstheater Meiningen, where he sung the role of Alfred in “Die Fledermaus”; Electrica in Thomas Édes popular opera “Powder her face”; Arturo in “Lucia di Lammermor”; Italian singer in Richard Strauss' last opera “Capriccio” and Der Sänger in “Der Rosenkavalier”. Siyabonga started his season 2016/17 with Rossini's well known comic opera - “Il Barbiere di Siviglia” where he is singing the role of Count Almaviva. He then later sang the role of David in Richard Wagner's Opera “Die Meistersinger von Nürnberg”. During summer 2017 he made his debut at the Opera Burg Gars Festival in Austria as Tamino in Mozart's "Die Zauberflöte". Siyabonga debuted as Ferrando in "Cosi fan tutte" in season 2017/18 in Meiningen Staatstheater as he continues his roles of Mozart operas.

Classic 1027 — Siyabonga Maqungo – a young South African tenor (28) all the way from a township of Katlehong in Johannesburg Gauteng province. Siyabonga has been singing all of his life since at a very young age. In Season 2015/16 he started his first engagement as an ensemble member in Staatstheater Meiningen, where he sung the role of Alfred in “Die Fledermaus”; Electrica in Thomas Édes popular opera “Powder her face”; Arturo in “Lucia di Lammermor”; Italian singer in Richard Strauss’ last opera “Capriccio” and Der Sänger in “Der Rosenkavalier”. Siyabonga started his season 2016/17 with Rossini’s well known comic opera - “Il Barbiere di Siviglia” where he is singing the role of Count Almaviva. He then later sang the role of David in Richard Wagner’s Opera “Die Meistersinger von Nürnberg”. During summer 2017 he made his debut at the Opera Burg Gars Festival in Austria as Tamino in Mozart’s "Die Zauberflöte". Siyabonga debuted as Ferrando in "Cosi fan tutte" in season 2017/18 in Meiningen Staatstheater as he continues his roles of Mozart operas.

Mozart’s comic yet profound look at human nature and one crazy day in a wealthy Spanish household. The Marriage of Figaro, is an opera buffa (comic opera) in four acts composed in 1786 by Wolfgang Amadeus Mozart, with an Italian libretto written by Lorenzo Da Ponte. The opera's libretto is based on a stage comedy by Pierre Beaumarchais, La folle journée, ou le Mariage de Figaro ("The Mad Day, or The Marriage of Figaro"), which was first performed in 1784. It tells how the servants Figaro and Susanna succeed in getting married, foiling the efforts of their philandering employer Count Almaviva to seduce Susanna and teaching him a lesson in fidelity. The opera is a cornerstone of the repertoire and appears consistently among the top ten in the Operabase list of most frequently performed operas.

Read the full story with photos at: https://www.otsuka.co.jp/en/company/globalnews/2014/0214_02.html   The Otsuka Museum of Art hosted the fifth Sistine Kabuki production – The Marriage of Figaro – for 3 days, on February 14, 15, and 16. Tickets sold out almost as soon as they went on sale. Two performances were held each day in Tokushima, Japan and were attended by about 2600 visitors. From its inception, "Sistine Kabuki" productions have been based on the themes of Japanese-Western collaboration and the creation of innovative kabuki theater. The current production – the Marriage of Figaro – is the first Sistine Kabuki comedy, and was based on Mozart's opera of the same name. Kazuo Mizuguchi produced and directed, and Kanjuro Fujima handled the choreography. Amidst the strains of Western and Japanese traditional music performed by the Tokushima Indoor String Quartet, two large stages, one in front and one in the rear of the audience, connected by an elevated "flower way" walkway, as well as a small stage placed almost in the middle of the "flower way," used the majesty of the 40-meter Sistine Hall to great effect. The Marriage of Figaro was set in Spain, but for this production the setting was moved to the country of Awa (present-day Tokushima), and the story was modified somewhat. Starting with the third performance, Ainosuke Kataoka played the roles corresponding to both Figaro and the Ronin who appears in this production. Kazutaro Nakamura played the role of Susanna, Kichiya Kamimura played the role of Countess Rosina Almaviva, Shouzou Uesugi played the role of Count Almaviva, and Miya Setouchi, a former star of the Takarazuka Review musical theater troupe and a native of Tokushima, played the role of Marcellina. The love story of Figaro, the head of Count Almaviva's servant-staff, and his bride-to-be Susanna is complicated by Countess Rosina's desire for revenge against her husband the count, who is attempting to seduce Susanna, by the efforts of Marcellina to use trickery to compel Figaro to marry her, and by the efforts of the Ronin to re-establish his house and title. The tanuki "racoon dog" legends of the land of Awa and the machinations of the various characters came to life in the Otsuka Museum of Art's Sistine Hall. The Sistine Kabuki productions have attracted considerable media attention for the use of flamenco in the third production (GOEMON) and modern music and Western dance in the previous production (Shiro Amakusa). This production continued this trend, incorporating samba rhythms, and including songs sung by the performers, which is extremely rare in kabuki, and has thus led to this production attracting attention as a "Kabuki musical."

The tenor always gets the girl, and The Barber of Seville is no exception. But it takes some wrangling, disguises and subterfuge to finally get Count Almaviva and his beloved Rosina together. Tenor John Osborn is certainly up to the task, a Rossini 'specialist' who is just coming off of a series of critically acclaimed performances of the composer's Otello. Listen in as Nicolas Reveles interviews this talented singer about his career and about the role.